Michelangelo

Painting a ceiling wasn't the job he wanted — he thought of himself as a sculptor and took it on under pressure, then spent four years craning upward at it. This is one panel out of a long run of scenes across the whole ceiling, which I hadn't realised. Supposedly it all looked far dimmer until a cleaning in the eighties that people argued about for years afterwards.

This is chalk on paper — the kind of sheet that was a step towards something else rather than the thing itself. He's said to have burned a lot of his own drawings late in life, supposedly so nobody would ever see the working-out behind the finished stuff. Ones like this got out anyway, and now they're framed and lit the same way the paintings are.

This is one of several studies Michelangelo made while working out the Libyan Sibyl for the Sistine Chapel ceiling — the same sheet has more sketches on the back, including a small seated figure that never made it into the fresco. Apparently he drew from a male studio model even though the finished sibyl reads as a woman, which is why the anatomy here looks so unmistakably male.

They say this might be Michelangelo's earliest surviving painting, made when he was barely a teenager — though whether it's really his is still argued over.