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| Domenico Beccafumi Figures crossing a Footbridge ca. 1520-30 drawing Musée du Louvre |
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| Domenico Beccafumi Figure Studies ca. 1530-40 drawing Morgan Library, New York |
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| Domenico Beccafumi Figure Study ca. 1520 drawing Musée du Louvre |
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| Domenico Beccafumi Half-Length Figure Study ca. 1535 drawing Musée du Louvre |
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| Domenico Beccafumi Half-Length Ornamental Nudes (study for mosaic pavement of Siena Cathedral) ca. 1544 drawing Harvard Art Museums |
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| Domenico Beccafumi Study after Antique Statue of River God ca. 1547 drawing Musée du Louvre |
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| Domenico Beccafumi Study after Antique Statues of River Gods ca. 1547 drawing Rijksmuseum, Amsterdam |
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| Domenico Beccafumi Study for Hercules at the Crossroads flanked by Female Figures after Antique Statues ca. 1524-25 drawing Musée du Louvre |
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| Domenico Beccafumi Study after an Antique Statue ca. 1524-25 drawing Musée du Louvre |
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| Domenico Beccafumi Study of Reclining Woman ca. 1533-35 drawing Musée du Louvre |
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| Domenico Beccafumi Study of Shoulder (River God) and Group of Three Figures ca. 1520-30 drawing Musée du Louvre |
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| Domenico Beccafumi Three Figure Studies ca. 1520-30 drawing Musée du Louvre |
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| Domenico Beccafumi Three Figure Studies ca. 1525 drawing Musée du Louvre |
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| Domenico Beccafumi Two Figure Studies ca. 1525-30 drawing Musée du Louvre |
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| Domenico Beccafumi Two Figure Studies ca. 1530-40 drawing Morgan Library, New York |
"At this time Pietro Perugino, then a famous painter, happend to be in Siena, where he painted, as we have said, two panels, and Domenico liked his style so much that he began to study it and to sketch these panels, and not much time passed before he mastered this style. Later, after Michelangelo's chapel and the works of Raphael from Urbino were unveiled in Rome, Domenico, who had no greater desire than to learn, realized that he was wasting time in Siena, and taking his leave from Lorenzo Beccafumi (from whom he assumed the family surname), he went off to Rome, where he arranged to live with a painter who kept him in his home at his own expense and with whom Domenico worked on many projects, all the while studying the paintings of Michelangelo, Raphael, and other excellent masters, as well as ancient statues and columns of astonishing workmanship. And so, not much time passed before he became a bold draughtsman, prolific in his inventions, and a beautiful colourist."
– Giorgio Vasari, The Lives of the Artists (1568), an abridgement translated by Julia Conaway Bondanella and Peter Bondanella (Oxford University Press, 1991)