Who painted Study of a Back?

Study of a Back was painted by Giulio Cesare Procaccini in 1612.

Where can I see Study of a Back?

Study of a Back is held by National Gallery of Art.

What movement is Study of a Back?

Study of a Back is associated with Baroque.

Can I buy a print of Study of a Back?

Museum-quality prints of Study of a Back are available made-to-order from Artifact World Gallery.

Artwork

Study of a Back

Giulio Cesare Procaccini , 1612

Study of a Back is an ink drawing by the Baroque artist Giulio Cesare Procaccini. It dates from 1612 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created in 1612, the drawing titled Study of a Back is executed in pen and brown ink on a light‑brown, slightly yellowed sheet of paper. It records a single human figure viewed from behind, focusing on the curvature of the shoulders and spine. The work is a preparatory sketch rather than a finished composition, intended to explore form and movement.

Subject & Meaning

The image isolates the back of a standing figure, emphasizing the anatomical structure of the musculature and the subtle play of light across the torso. By omitting facial features and surrounding context, the study directs attention to the body's underlying geometry, serving as a visual investigation of human anatomy and the expressive potential of gesture.

Technique & Style

Procaccini employs swift, varied ink strokes that range from thin, delicate lines to broader, more forceful marks. Overlapping strokes generate tonal depth without the use of hatching or shading, creating a sense of volume through line alone. The sketch’s loose, dynamic quality reflects the early Baroque interest in naturalism and the immediacy of observation.

History & Provenance

The drawing originates from Giulio Cesare Procaccini, an early‑Baroque painter and sculptor active in Milan.

The drawing originates from Giulio Cesare Procaccini, an early‑Baroque painter and sculptor active in Milan. During this period he worked alongside contemporaries such as Giovanni Battista Crespi and Pier Francesco Mazzucchelli, under the patronage of Cardinal Federico Borromeo, a leading figure in the city's artistic circles. The work remains a testament to the collaborative environment of Milanese art in the early 17th century.