The Transfiguration (recto) Camillo Procaccini (1561-1629)

Here we observe a dynamic composition rendered in charcoal and ink on paper, exhibiting a clear focus on figural arrangement and expressive gesture. The scene is populated by three distinct figures: two flanking a central, dominant presence.
The figure positioned on the left appears youthful, seated with folded legs and hands clasped before them. A sense of anxious contemplation emanates from this posture; the head is tilted downwards, suggesting introspection or perhaps distress. The rendering here emphasizes the delicate musculature of the limbs and torso, achieved through a network of fine lines that delineate form without resorting to heavy shading.
The central figure commands immediate attention. Elevated above the others, they are depicted in an attitude of ecstatic revelation. Arms raised in a gesture of surrender or triumph, the body is enveloped by flowing drapery which seems to billow outwards, suggesting a divine effulgence. The face, though partially obscured by shadow and the folds of fabric, conveys a sense of profound spiritual intensity. A halo-like effect is suggested through the radiating lines around the head, further emphasizing this figure’s elevated status.
To the right, another figure leans forward, pointing emphatically towards the central presence. This gesture implies direction, perhaps an act of witnessing or proclamation. The body is similarly draped in flowing robes, though the rendering here incorporates a greater degree of textural detail – visible through the hatching and cross-hatching used to depict the fabric’s folds and weight.
The drawings overall effect is one of dramatic tension and spiritual upheaval. The figures are not static; they appear caught in a moment of intense emotional and physical movement. The artist has skillfully employed line quality and gesture to convey a narrative that transcends mere representation, hinting at a transformative event or profound revelation. The lack of extensive shading contributes to the drawing’s immediacy and emphasizes the expressive power of the lines themselves. It suggests an exploratory study, perhaps a preliminary sketch for a larger work, where the artist is primarily concerned with capturing the essence of the scene through dynamic composition and expressive figuration.