Search results
Results from the WOW.Com Content Network
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.
A sinopia showing a king, from the Museum of Sinopie in Pisa, Italy. The sinopia—in this case, meaning the underpainting—of a painting of the Madonna and Child by Giovanni di Francesco Toscani A sinopia for a fresco by Buonamico Buffalmacco (1290-1341), in the Museum of Sinopie in Pisa
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 ...
To understand the role of underpainting, one can use metaphor and think of the underpainting as a base-rhythm in music, and the overpainting as a solo played over this. Areas not underpainted, outlining the space for a figure for example, are said to be reserved .
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. ...
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.