Paper
Name Class Date

Domingos António De Sequeira, Several figures drawing sketch (1833), Machado de Castro National Museum. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Domingos António De Sequeira originaluniqueart.com/en/artists/domingos-antonio-de-sequeira/
Artist’s dates
1768 – 1837
Painted
1833
Medium
Charcoal Burnt wood used for drawing — capable of the deepest blacks and wiped back with a finger.
Original size
29 x 43 cm
Movement
Neoclassicism A deliberate return to the calm balance and clear outlines of ancient Greek and Roman art.
Period
19th Century
Held at
Machado de Castro National Museum originaluniqueart.com/en/museums/machado-de-castro-national-museum-coimbra/
Artistic style
Academic/Sketch Study
Notable elements or techniques
Study of light, charcoal shadows
Subject or theme
Several figures sketching

In context

Several figures drawing sketch — Domingos António De Sequeira

How big is it?

The original measures 29 × 43 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1760
  2. 1770
  3. 1780
  4. 1790
  5. 1800
  6. 1810
  7. 1820
  8. 1830

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 69 at death.

Painted when the artist was 65. The artist lived to 69. 4 of the 6 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Domingos António De Sequeira (1768–1837) ▲ this work, 1833 every dated painting, decade by decade

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/domingos-antonio-de-sequeira-several-figures-drawing-sketch-D823VG-en/

Colours

Measured from the image

    Main colour

    Rosy Brown #9f9378

    Catalogued palette

    • #9F9378
    • #D6AC82
    • #BCB495
    • #706957

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Rosy Brown
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Domingos António De Sequeira over the last twelve months — 2 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 50.0%200 visits
    2. 2 Portugal 50.0%200 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 3 most looked-at works by Domingos António De Sequeira

    1. 1 Eros and Psyche - allegory of love, 1812 80.0%400 visits
    2. 2 The Adoration of the Magi, 1800 20.0%100 visits
    3. — Several figures drawing sketch, 1833 this painting 0.0%0 visits

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 7 works by this artist, of which 2 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Several figures drawing sketch — Domingos António De Sequeira

    Several figures drawing sketch. Charcoal drawing, highlighted in white chalk, representing several figures: (from left to right :) male figure, facing slightly three quarters to the right, head turned back, with the right hand hugs a sheep; on the right, on top, another male figure, half-body, with her back turned three-quarters to the right, extends her arms, joining her hands; below, another male figure, half-body, three-fourths to the right, has his gaze directed to the right arm, bent, and whose hand is closed; to the right, above, a handheld study holding a wire; the same hand gesture, more contained is repeated below in the black female figure (very thick lips), which is turned three quarters to the left; in the same direction, below, a figure represented in full body, with long and wide robes, frontal, with head slightly inclined to the right; at the right end of the paper, above and half height, studies of heads (two). Outstanding from the drawing is the study of light, marked with white chalk and highlighted by the charcoal shadows on the opposite side of each figure; and still the study of the hand holding the wire. In the upper left corner a spot of coal, a vestige of the act of sharpening the pencil.

    Artist and museum

    Artist

    Domingos António De Sequeira

    Born in Lisbon, Portugal

    Giovanni Antonio Canal, Known as Canaletto: A Venetian Master of Light and City

    Giovanni Antonio Canal, universally known as Canaletto (1697-1768), stands as a pivotal figure in the history of Western art. Born into a family steeped in theatrical design – his father was a scene painter – Canaletto’s artistic journey began not with grand commissions but with humble beginnings assisting his father and brother, crafting backdrops for Venetian opera houses. This early exposure to visual storytelling, combined with an innate observational skill, laid the foundation for his extraordinary career as a veduta painter, specializing in meticulously rendered views of Venice and later, London. His legacy rests not just on technical mastery but also on capturing the very essence of urban life – the play of light, the bustle of commerce, and the quiet dignity of everyday existence.

    Canaletto’s artistic development was profoundly shaped by his Venetian surroundings. The city itself—a labyrinth of canals, bridges, and palazzi bathed in the unique quality of northern Italian light—provided an inexhaustible source of inspiration. Initially, he produced small-scale paintings for private patrons, intimate studies of architectural details and local scenes – works like “The Stonemason’s Yard” (circa 1727) exemplify this early period. These pieces demonstrate a remarkable attention to detail, a keen understanding of perspective, and an ability to imbue even the most mundane subjects with a sense of atmosphere. However, recognizing the lucrative potential of catering to the burgeoning tourist trade, Canaletto shifted his focus towards larger-scale, more elaborate vedute designed for sale to visitors. This shift didn’t represent a decline in quality; rather, it showcased his ability to synthesize observation and artistic skill into commercially successful works.

    The Rise of the Workshop and the ‘Formulaic’ Painting

    As Canaletto's fame grew, he increasingly relied on a workshop system to meet the demands of a rapidly expanding market. While he remained the principal designer and oversaw the overall composition and color palette, his assistants – notably his nephew Bernardo Bellotto – executed much of the painting process. This collaborative approach allowed Canaletto to produce an astonishing volume of work, documenting Venice’s architectural evolution and capturing its vibrant social life. These later works, often depicting grand ceremonies or public events like “Regatta on the Grand Canal” (1730), are characterized by their polished surfaces, bright colors, and a certain degree of schematic precision. Critics initially questioned the authenticity of these paintings, suggesting that Canaletto was merely a facilitator, relying on his assistants to carry out the actual painting. However, careful examination reveals Canaletto’s meticulous control over the design, color scheme, and overall aesthetic – he wasn't simply delegating; he was orchestrating.

    A Journey North: London and Beyond

    In 1746, at the invitation of Joseph “Consul” Smith, a wealthy British merchant and art collector, Canaletto embarked on a significant chapter in his career – a decade spent painting in England. This period marked a crucial evolution in his style. He moved beyond purely topographical representations, incorporating elements of capriccio, imaginary landscapes that blended real and invented features. His London paintings—including “Eton College” (1746) and views of Warwick Castle and Alnwick Castle – demonstrate a heightened sense of drama and an exploration of compositional possibilities. The English market proved exceptionally receptive to Canaletto’s work, fueled by Smith's astute business acumen and the patronage of King George III. The success in England solidified his reputation as one of Europe’s leading landscape painters.

    Legacy and Influence

    Canaletto’s impact on art history is undeniable. He elevated veduta painting to a new level of sophistication, establishing a standard for accuracy, detail, and atmospheric rendering that influenced generations of artists. His meticulous observation, combined with his artistic sensibility, created images that are not merely representations of reality but evocative glimpses into the soul of cities. Beyond his technical achievements, Canaletto’s work offers a unique window into 18th-century Venice and London—a testament to the enduring appeal of urban landscapes and the power of art to capture the spirit of a place and its people. His legacy continues to inspire artists today, reminding us of the beauty and complexity that can be found in the everyday world.

    Museum

    Machado de Castro National Museum

    On show in Coimbra, Portugal

    A Tapestry of Time: Unveiling the Machado de Castro National Museum

    To step into the Machado de Castro National Museum is to embark on a profound journey through the very soul of Portugal, where the boundaries between past and present dissolve into a seamless narrative of human endeavor. Situated in the historic heart of Coimbra, within the majestic walls of the former Bishop's Palace, this museum serves as a living chronicle of cultural evolution. It is a place where Roman foundations whisper tales of antiquity, medieval grandeur echoes through stone corridors, and Renaissance brilliance illuminates centuries of artistic mastery. The museum does not merely house artifacts; it breathes with the history of Aeminium, the ancient Roman settlement that once thrived here, offering a tangible connection to an era of emperors and artisans that predates the modern world.

    The architectural experience begins even before one reaches the galleries, as the building itself is a masterpiece of layered history. Descending beneath the palace walls, visitors encounter the breathtaking Cryptoporticus, a subterranean gallery dating back to the 1st century AD. This remarkably preserved Roman marvel offers an intimate glimpse into the structural ingenuity of antiquity, its cool, shadowed corridors resonating with the ghosts of a lost forum. As one ascends through the museum's levels, the architecture shifts from Romanesque arches to Manueline flourishes and neoclassical refinements, creating a harmonious dialogue between different epochs. This architectural metamorphosis was beautifully realized during the transformative renovation led by architect Gonçalo Byrne, an achievement so significant it earned the prestigious Piranesi/Prix de Rome Prize.

    The Soul in Stone and the Splendor of Craft

    The museum’s sculptural collection stands as its most poignant heartbeat, representing a magnificent celebration of Portuguese craftsmanship and spiritual devotion. Carved primarily from the local, luminous Ançã stone, these works exemplify a distinctive aesthetic characterized by intricate detail and an expressive, dynamic energy. The sculptures are not merely static objects but vessels of profound emotion; pieces such as the hauntingly beautiful

    “Christ in His Tomb”

    and the solemn

    “Black Christ”

    invite deep contemplation, reflecting the intense religious fervor that shaped the nation's identity between the 14th and 16th centuries. For the art lover or collector, these works offer a masterclass in how material can be transformed into spiritual transcendence.

    Beyond the stone, the museum offers a visual feast of diverse media that enriches the visitor's understanding of Portugal’s global connections. The collection encompasses an impressive array of paintings that serve as a visual chronicle of stylistic shifts, from Flemish masterpieces that speak to Europe's interconnectedness to regional canvases that capture local traditions. This richness is furthered by exquisite examples of applied arts, where shimmering metals adorned with enamel and precious stones meet the delicate artistry of ceramics and richly textured textiles. For interior designers and enthusiasts of fine decor, the museum provides endless inspiration, showcasing how art, ornament, and history converge to create spaces of unparalleled beauty and cultural depth.

    A Legacy for the Discerning Eye

    What makes the Machado de Castro National Museum truly unique is its ability to function as both a historical archive and an aesthetic sanctuary. It is a destination where the weight of history meets the lightness of artistic grace, making it an essential pilgrimage for those who seek to understand the roots of European identity. The museum invites a multisensory engagement with the past, offering:

    The Roman Legacy:

    An immersive encounter with the subterranean remnants of Aeminium.

    Sculptural Mastery:

    The ethereal beauty of Ançã stone carvings that define the Portuguese Gothic and Renaissance spirit.

    Decorative Grandeur:

    A curated selection of precious metals, ceramics, and textiles that illustrate the evolution of fine ornament.

    In every corner of this institution, there is a lesson in how the preservation of heritage can inspire contemporary beauty, making it a cornerstone of cultural significance in Coimbra and beyond.

    Where to read more

    Find this online

    QR code linking to the download page for Several figures drawing sketch

    originaluniqueart.com/en/art/download/domingos-antonio-de-sequeira-several-figures-drawing-sketch-D823VG-en/

    Cite this artwork

    MLA
    Sequeira, Domingos António De. Several figures drawing sketch. 1833, Machado de Castro National Museum. https://originaluniqueart.com/en/art/domingos-antonio-de-sequeira-several-figures-drawing-sketch-D823VG-en/
    APA
    Sequeira, Domingos António De (1833). Several figures drawing sketch [Painting]. Machado de Castro National Museum. https://originaluniqueart.com/en/art/domingos-antonio-de-sequeira-several-figures-drawing-sketch-D823VG-en/
    Chicago
    Domingos António De Sequeira. Several figures drawing sketch. 1833. Machado de Castro National Museum. https://originaluniqueart.com/en/art/domingos-antonio-de-sequeira-several-figures-drawing-sketch-D823VG-en/
    Harvard
    Sequeira, Domingos António De (1833) Several figures drawing sketch. Machado de Castro National Museum. Available at: https://originaluniqueart.com/en/art/domingos-antonio-de-sequeira-several-figures-drawing-sketch-D823VG-en/

    Look closely

    Several figures drawing sketch — Domingos António De Sequeira

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: figure study, charcoal drawing, sketching session. Do you agree? What would you add, or take away?
    4. Look back at The Adoration of the Magi (1800), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Neoclassicism: A deliberate return to the calm balance and clear outlines of ancient Greek and Roman art. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Several figures drawing sketch — Domingos António De Sequeira

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the primary medium used for 'Several figures drawing sketch'?

      • A Oil on canvas
      • B Charcoal drawing highlighted with white chalk
      • C Watercolor wash
    2. 2. Who is the artist credited with creating 'Several figures drawing sketch'?

      • A Giovanni Antonio Canaletto
      • B Domingos António De Sequeira
      • C Unknown Master
    3. 3. In what year was this artwork created?

      • A 1697
      • B 1833
      • C 1768
    4. 4. What specific element is noted as being highlighted with white chalk in the drawing?

      • A The robes of the full-body figure
      • B The study of light and shadows on the figures
      • C The sheep held by the male figure
    5. 5. Where is this artwork currently located?

      • A The Prado Museum, Madrid
      • B Machado de Castro National Museum (Coimbra, Portugal)
      • C The Louvre Museum, Paris

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2A · 3A · 4A · 5A

    Check any answer against the catalogue record for this painting

    Questions & Answers

    Did "Several figures drawing sketch" stay in its artist's homeland?

    Yes - the artwork is kept in the artist's home country. The birth country of Domingos António De Sequeira is Portugal, and the museum holding the original of "Several figures drawing sketch" is in Portugal.

    Are there works similar to "Several figures drawing sketch"?

    Artworks similar to "Several figures drawing sketch" by Domingos António De Sequeira are gathered on the artwork's Similars page.

    What feeling is "Several figures drawing sketch" associated with?

    "Several figures drawing sketch" by Domingos António De Sequeira conveys a reflective emotional tone.