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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 or ground beneath these was usually white (typically gesso coated with a primer), allowing light to reflect through the layers. But van Eyck, and Robert Campin a little later, used a wet-on-wet technique in places, painting a second layer soon after the first.
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. ...
A statue of Onufri in Berat, Albania. Onufri (Albanian: Onufri; Greek: Ονούφριος; Italian: Onufri), Onouphrios of Neokastro or Onouphrios Argytes, was a 16th century Archpriest of Elbasan and the most important painter of Orthodox murals and icons in the early post-Byzantine era in Albania.
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.