Historical Painting Techniques, Materials, and Studio Practice
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
Well aware of the optical properties of both light <strong>and</strong> color, the artist worked<br />
on a highly reflective, white ground layer. The underpainting could be a<br />
complete gray-toned version of the finished image, painted in a manner such<br />
as that described in the preceding basic technique. It could also be constructed<br />
through a more sophisticated technique, as seen in the unfinished panel of<br />
Santa Barbara by Jan van Eyck. An underdrawing, which establishes contours<br />
<strong>and</strong> darks on the white ground layer, is covered with an imprimatura, a thin,<br />
transparent layer of paint that allows the drawing to show through the ground<br />
while also establishing a middle tone throughout the painting. Highlights<br />
could then be added in white paint where appropriate, thus, with less work,<br />
completing the values <strong>and</strong> creating a finished monochromatic underpainting.<br />
Regardless of the approach taken toward the underpainting, its creation was<br />
essential to the technique itself. Color applied as thin transparent glazes allowed<br />
the fully developed underpainting to define the fo rms while the color<br />
itself remained clean, pure, <strong>and</strong> unadulterated. Highlighted areas could be<br />
achieved with the thinnest possible application of local color, as the white of<br />
the underpainting had merely to be tinted appropriately. Dark tones, however,<br />
posed some problems with the clear transparent pigments: many layers were<br />
required to cover the underdrawing <strong>and</strong> establish the proper local color.<br />
By fo cusing on these highlights <strong>and</strong> shadows, visual identification of the technique<br />
is quite simple. Highlighted areas are very thin <strong>and</strong> fine. Color applied<br />
in thin glazes tends to be clear, luminous, <strong>and</strong> devoid of brush marks. Shadows<br />
<strong>and</strong> dark colors, however, appear as thickly built-up surfaces, creating ridges<br />
clearly visible in raking light where they come into contact with the delicate<br />
light areas (Plate 2a, b).<br />
Highlighting with impasto white. Allowing a freer painting style <strong>and</strong> facilitating<br />
larger formats, this more flexible technique is typical of the Baroque masters.<br />
Any support suffices; the underdrawing is optional. The artist tones the surface<br />
with a middle or darker value, then creates the image with an underpainting<br />
of washes that may be controlled or completely free <strong>and</strong> spontaneous. The<br />
areas of the painting to be highlighted are now created with a heavy impasto<br />
white paint.<br />
This simple procedure accomplishes the same optical effects as the complete<br />
monochromatic underpainting of the previous transparent oil technique, yet<br />
it allows the image to evolve as it is constructed. The continued separation<br />
of value from color still allows for beautiful luminous color. Because the image<br />
originates in the loose, dark washes, contours need not be highly defined <strong>and</strong><br />
extreme chiaroscuro is possible. The resulting work is often quite dramatic in<br />
nature.<br />
This technique provides very specific optical markers. The darks are thin <strong>and</strong><br />
transparent, often revealing the preliminary wash or imprimatura. The highlights<br />
that define the volume appear thick <strong>and</strong> visibly raised from the painted<br />
surface (Plate 3a, b).<br />
Direct suiface blending. In the controlled technique of surface blending, individual<br />
colors <strong>and</strong> values are mixed <strong>and</strong> applied to appropriate locations of<br />
the surface to indicate highlight <strong>and</strong> shadow. Each new application of color<br />
is carefully blended into the surrounding paint, resulting in a smooth, continuous<br />
flow. The underdrawing <strong>and</strong> underpainting serve only as a guide for<br />
the surface painting; they do not actively affect the surface itself.<br />
All traces of brushwork can be blended out if desired; consequently, the technique<br />
lends itself well to smooth, detailed, controlled styles such as found in<br />
the work of the Neoclassicists.<br />
Visual markers fo r the technique include a smooth, continuous surface with<br />
gradual, imperceptible shifts from highlight to shadow. Direct blending of the<br />
pigments creates an opaque quality in contrast to the luminous character of<br />
colors in the multilayered approaches (Plate 4a, b).<br />
8<br />
<strong>Historical</strong> <strong>Painting</strong> <strong>Techniques</strong>, <strong>Materials</strong>, <strong>and</strong> <strong>Studio</strong> <strong>Practice</strong>