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Hans Holbein the Younger, Portait Study of Mary, Lady Guildford, née Wotton, 1527, black and coloured chalks on paper, Basel, Kunstmuseum.
Lucas van Leyden, A Young Man Standing, undated, black chalk, Private Collection.
Van Leyden was famous for his skills as a print-maker. This work, which was probably a study for an engraving, is one of only 28 drawings by the Dutch artist known to survive.
Maarten van Heemskerck, The Dioscuri on Monte Cavallo, ca. 1533, pen and brown ink, New York, Metropolitan Museum of Art.
Gaspar Becerra (after Michelangelo), Partial Copy of The Last Judgement, ca.1545-55, black chalk on yellow paper, Madrid, Museo del Prado.
Parmigianino, Head of the Laocöon, 1530s, black chalk, Derbyshire, Chatsworth House.
Parmigianino travelled to Rome from Parma in the late 1520s. He was clearly influenced by the classical sculpture he saw there, but his is elegant style derives from the flowing lines of Raphael rather than the muscular volumes of Michelangelo.
Domenico Beccafumi, Cartoon for the Floor of the Duomo, Siena, 1529-31, black chalk and wash, Siena, Pinacoteca Nazionale.
Like Parmigianino, Domenico Beccafumi, working in Siena in the mid-16th century, continued to refer to works he had seen in Rome several decades earlier.
Pieter Bruegel the Elder, 1559, Caritas (Charity), pen and brown ink, Rotterdam, Museum Boijmans van Beuningen.
Titian (Tiziano Vecellio), Pastoral Scene, ca. 1565, pen and brown ink, black chalk, heightened with white gouache, Los Angeles, J. Paul Getty Museum.
Jacopo Tintoretto, Two Studies of Samson Slaying the Philistines, ca. 1560-70, black chalk, heightened with wetted white chalk, on blue paper, New York, The Morgan Library.
Titian (Tiziano Vecellio), Horse and Rider Falling, ca. 1537, black chalk with charcoal and white heightening, squared in red chalk, on faded blue paper, Oxford, Ashmolean Museum.
Paolo Veronese, Venus, Adonis and Cupid, before 1580, charcoal, sanguine and highlights in white chalk, Toulouse, Musée Paul-Dupuy.
This drawing is a study for Veronese’s Venus and Adonis with Cupid and Dogs now in the National Gallery of Scotland.
Federico Zuccaro, Taddeo in the Belvedere Court in the Vatican drawing the Laocoön, ca. 1595, pen & brown ink, brush with brown wash, Los Angeles, J. Paul Getty Museum.
This is the earliest known image of an artist drawing antique sculptures in the Belvedere Court which was made accessible to painters and sculptors by subsequent popes. Here the artist drawing is Taddeo Zuccaro, Federico’s elder brother, both of them successful Mannerist painters who settled in Rome in the mid-16th century.
El Greco, Study for St John the Evangelist and an Angel, 1596-99, pen and pale-brown ink and wash on off-white paper, Los Angeles, J. Paul Getty Museum.