 People don't tend to look at drawings nearly enough. And red ochre, particularly this shade of red ochre, this sort of reddish-orange, was frequently used in old master drawings, drawings really from the 15th century onwards in order to add a warmth and a spark of life to otherwise fairly plain black and white charcoal drawings. And what we're seeing here is a drawing attributed to Francois Boucher and it shows a shepherd and a shepherdess in a pastoral scene with some sheep. And you see there's, it was mostly done using pencil and charcoal and sort of a black and white on kind of a slightly creamy paper. And then Boucher went in with touches of white chalk, touches of red ochre in probably a chalky form or a pastel form. And then there are also a few touches of blue. And he also took a wet brush because all of these substances can be blended, both with the finger and also you get some wonderful effects from water. And so he did some white washes and also some blending probably with fingers or cloth in different areas. Now we're going to zoom in on different parts of that drawing. Here we're looking at the hind quarters of the larger sheep, the U. And you can see that Boucher has used sort of a dark black charcoal, kind of a bluish gray. And then you can see just at the very top a little bit of white. But what I want you to notice is the effect of that red ochre. Just imagine, kind of mentally edit that out for a moment. And suddenly this becomes a very cold and rather lifeless scene. But just with a little bit of crosshatching of that red ochre and a little bit of blending, suddenly we get some warmth and some life into this particular animal that we see. Here's an even nicer contrast where you see that U and her lamb. And the U seems to be taking something from the hand of the shepherdess. But contrast the incredible warmth and sort of glow that the shepherdess has. She's being rendered almost entirely in that reddish orange ochre against the head of the U and her lamb. Which are made almost entirely in that dark charcoal and some gray. And there are, the touches of white here are just masterfully done so that you get a sense of highlighting that gives you three dimensionality here. But you get this wonderful glow from that reddish ochre, this sort of pulsing life and warmth that makes the figure of the shepherdess very erotic and warm and just beautiful. Now we've backed off a little and you can see how skillfully Boucher, if that is in fact the artist who made this, created these figures. He used this wonderful cross hatching and just hatching. Those are the parallel lines and then sometimes the lines that cross each other to give senses of shadow on the necks of both figures, their shoulders, the leg and upper thigh of the shepherdess. And you can see also how he used the gray to sort of send that shepherd boy back into the background a bit more. Where we see the pops of color are in those highlighted areas on his cheek and his nose and that calls attention to his sort of worshipful gaze that he's giving to the young shepherdess. And then she in turn, by leaving the color of the paper to shine through and give us an impression of her flesh and then going up over top of that with this really bright highlight in white chalk, contrasting with that reddish orange of the ochre, she seems incredibly vibrant and warm. Your eye is drawn to her, she's sort of the hottest thing on this piece of paper. And that little touch of blue in her hair ornament only serves to really make her seem so warm and romantic. We'll finish with a couple of facial close-ups and when you zoom way in on something like this and this drawing is really not too much bigger than an eight and a half by eleven piece of paper. It's not particularly large. But when you zoom in on this, you can see again just the consummate skill of this artist where he's gone in and used very pure and strong pops of color in areas to warm up the figure. So here there's sort of a bright orange almost splash underneath one ear and around the brows of this young man and then blending other areas in with the gray and with the black and then just those tiny bits of highlight at the brow, at the cheek, on the nose and just on the side of the mouth to give this figure a sense of liveliness. There's also a really, this is a skillful show of a technique called foreshortening where you have the sense of a three dimensional object, in this case the face and the neck being sort of tilted and turned in space. So we get this sense of the chin coming out towards us and the rest of the head receding but in order to call attention to the gaze of this figure the artist has actually made the eyes larger than they should be in a foreshortened view. The eyes should actually be smaller here and recede more but in order to call attention to that loving gaze the artist has manipulated the human form and made those eyes larger. Now we have what I think is sort of the best for last this stunningly beautiful shepherdess and you can see there's just a little bit of contour line done in that dark black and then there's a wonderful blending of both the black and the gray to give the impression of hair and then just a few touches of blue to give the impression of a ribbon that's been braided into the bun of this figure. But overall again it is that ochre that makes her glow that makes her seem warm and vibrant and alive and romantic and I hope this is something that encourages you when you're in a museum and you see a tiny little side gallery having a show of drawings to go in and just take a look at them because sometimes as we saw here and also as we saw in the case study of the snow pie sometimes the drawings are so exciting and so rewarding to see because you can see the artist really working through a lot of the problems that you never end up seeing in the finished work. This is where all of that invention takes place.