That is the beauty of a drawing. The idea enters the mind of the artist in a fury (quickly), and the artist puts it down on paper while s/he is inspired. Another example is Kathe Kollwitz’s Suicide Victim, 1928. Kollwitz’s husband was a doctor practicing in an impoverished area of Berlin, Germany. She often accompanied him on his trips to his patients’ homes. This image clearly evidences furia and sprezzatura. The woman’s body is incomplete, unbalanced, and asymmetrically placed on the paper. The artist did not spend the time to add in a background, so the body seems to float in a void. Analytic lines define the contours of the head, eyes, nose, mouth, fingers, and rest of the body. However, the lines in the sleeve, hand, and hair are so quickly sketched that they neither define interior anatomical details, fabric creases nor create a three-dimensional illusion of hills and valleys.

 

Obviously, the artist could not spend a half-hour studying the details of the corpse; she had to work quickly and the lines of the clothing reflect not only the speed but also a raw, almost savage power only possible due to the expressivity of line created with sprezzatura.