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Underpainting gets its name because it is painting that is intended to be painted over (see overpainting) in a system of working in layers. There are several different types of underpainting, such as veneda, verdaccio, morellone, imprimatura and grisaille. [1] The different types have different colourings. Grisaille is plain grey.
Underdrawing is a preparatory drawing done on a painting ground before paint is applied, [1] for example, an imprimatura or an underpainting. Underdrawing was used extensively by 15th century painters like Jan van Eyck and Rogier van der Weyden.
Working in layers is used extensively in oil painting for paintings that require more than one session. For a painting that develops over several days, allowing for the oil paint to dry for a given layer, it is helpful to work with explicit painting layers.
Its use as an underpainting layer can be dated back to the guilds and workshops during the Middle Ages; however, it came into standard use by painters during the Renaissance, particularly in Italy. The imprimatura not only provides an overall tonal optical unity in a painting but is also useful in the initial stages of the work, since it helps ...
The underpainting gives a context in which the paint-strokes of the overpainting become more resonant and powerful. When properly done, overpainting does not need to completely obscure the underpainting. It is precisely the interaction of the two that gives the most interesting effects. Overpainting was used extensively in many schools of art.
Ébauche (loanword from French, meaning blank, outline or sketch) is a preliminary underpainting or quick sketch in oils for an oil painting. Horology, clockmaking and watchmaking appropriated the term ébauche to refer to an incomplete or unassembled watch movement and its associated components.
Zurbarán's "Christ and the Virgin in the House at Nazareth" shows that the size of a white cloth was expanded after the dark background underpainting had been applied; the expanded area is a darker white. [8] An example by Rembrandt can be found in his 1654 portrait Flora.
Verdaccio is an Italian name for the mixture of black, white, and yellow pigments resulting in a grayish or yellowish (depending on the proportion) soft greenish brown. ...