To guide her strokes, she constantly looked down at her cellphone screen, following Vasari's preparatory underdrawing, which had been obtained by electronic scans.
|
|
One told him that the "Flight Into Egypt" underdrawing looked very much like one in Isenbrandt's crucifixion triptych at a museum in Estonia.
|
|
With its underdrawing clearly showing hesitancy and a late-stage change in composition characteristic of an improvisatory way of working, it contrasts with Michelangelo's determined precision.
|
|
With a shortwave infrared camera (the kind used in drones, Mr. Martin points out), you may see the artist's underdrawing — the genius's equivalent of a paint-by-number pattern.
|
|
An infrared photograph may have captured a preliminary sketch or underdrawing, and examination of the painting in UV light could have led prior scholars to identify surface coatings and materials.
|
|
Overall the final portrait was more idealized than the original underdrawing.
|
|
Western watercolour is a more tonal medium, even with underdrawing visible.
|
|
Pourbus had a systematic style of underdrawing, as noted and studied by Anne van Oosterwijk in her article dedicated to "Pourbus' style in terms of paint and underdrawing".(en) (nl) Anne Van Oosterwijk. Pourbus’style in terms of paint and underdrawing. In: Marc de Beyer and Josephina de Fouw, Pieter Pourbus: meester-schilder uit Gouda = Pieter Pourbus: Master painter of Gouda.
|
|
She is most likely absorbed in reading prayers before being summoned to Emperor Maxentius.Chlumská Š, 1999, p. 24 The painting of the Martyrdom of St Catherine is the finest one of the entire set. Several parts of the underdrawing recall the expressive lines of the underdrawing of the Litoměřice Altarpiece; they are not identical, however.
|
|
Underdrawing was used extensively by 15th century painters like Jan van Eyck and Rogier van der Weyden. These artists "underdrew" with a brush, using hatching strokes for shading, using water-based black paint, before underpainting and overpainting with oils. Cennino D'Andrea Cennini (14th century most likely) describes a different type of underdrawing, made with graded tones rather than hatching, for egg tempera. In some cases, underdrawing can be clearly visualized using infrared reflectography because carbon black pigments absorb infrared light, whereas opaque pigments such as lead white are transparent with infrared light.
|
|
Portrait of Giovanna Tornabuoni has been extensively studied. It has been x-rayed as well as analyzed with ultra-violet, infra-red, and cross-section techniques. Through these analyses it was found that the painting was created with a brush underdrawing. There are several differences between the underdrawing and the final painting, including the positioning of the hands and the included accessories.
|
|
Underdrawing in many works, for example, the Annunciation (van Eyck, Washington) or the Arnolfini Portrait, reveals that artists made alterations, sometimes radical ones, to their compositions.
|
|
Pentimenti may show that a composition originally had an element, for example, a head or a hand, in a slightly different place, or that an element no longer in the final painting was originally planned. The changes may have been done in the underdrawing of the painting, or by the visible layers of paint differing from the underdrawing, or by the first painted treatment of the element having been over-painted. Some pentimenti have always been visible on the final painting with careful inspection; others are revealed by the increasing transparency that some paint acquires after several centuries. Others, especially in the underdrawing, can only be seen with modern methods such as X-rays and infrared reflectography and photographs.
|
|
The rear wall: Moses found in the bullrushes on the wall, stained glass of Jehovah, with Seraphim above. The wall-painting is not in the underdrawing A cleaning in 1998, and examination by modern technical methods such as infrared reflectograms, has revealed much about van Eyck's technique here, which is consistent with other works of his such as the Arnolfini Portrait. His underdrawing has been revealed, and so have many changes made in the course of painting the work.Gifford, 1999 Van Eyck's superb oil painting technique is evident throughout.
|
|
On to this, an insulating layer most probably made of egg white and gelatine was applied. The underdrawings of the individual paintings are mainly relatively schematic – an exception being the Martyrdom, which has more in common with the careful modelling of volume seen in the Litoměřice Altarpiece. In two other panels, the underdrawing of the drapery has much in common with the underdrawing of the Altarpiece of the Holy Trinity. The flesh tones are underlaid by a fine layer of lead white and are modelled with a single layer of paint containing white paint, vermillion and charcoal black.
|
|
The vase of lilies was not only absent in the underdrawing, but was not reserved, that is to say that a space was not left for it in the paint for the Virgin's robe or the floor. This suggests it was only added late in the course of painting.Gifford pp 4 & 5 Examination of other major van Eyck works reveals similar developments from the underdrawing, and in the course of painting, in these works. It seems van Eyck, perhaps acting with clerical advisers, although he appears to have been a considerable reader himself, liked to add further complexity to his compositions in the course of work on them.
|
|
Both Vasari and Gian Paolo Lomazzo describe the subject as smiling, unlike the subject in Cotte's supposed portrait. In 2020, Cotte published a study alleging that the canvas has a underdrawing, which seems to have been transferred from a preparatory drawing by depositing charcoal in tiny holes.
|
|
The carvings above Rolin. Infrared reflectograms have disclosed a number of changes from the underdrawing. Rolin had a large purse hanging from his belt; since he had grown very rich in public office he probably felt that would be inappropriate. The infant Christ was originally pointing at the floor.
|
|
Walsh's intricate painting process is documented in an app called Repentir. The app works with his paintings, Transamerica (2013) and 23 Skidoo (2013). With the app, the user can take a photo of any, or the entire, painting and rewind the painting in time down to the underdrawing.
|
|
For all the known history of the painting it has been together with the NG 1079 Adoration, but this goes no further back than early 19th-century London. Whether the two originally formed part of the same polytych is not quite certain, but it seems most likely.Campbell, 145 The Lamentation is some 3 cm larger in both dimensions, and its underdrawing "is inconsistent in style and some parts can be reconciled with the underdrawing of the Adoration", but others not.Campbell, 144 In the two panels the figures are about the same size, and the horizons at the same level, and no other panels of these dimensions are attributed to David or his workshop.
|
|
An infrared reflectogram of Mona Lisa by Leonardo da Vinci upright=0.9 Infrared reflectography can be applied to paintings to reveal underlying layers in a non-destructive manner, in particular the artist's underdrawing or outline drawn as a guide. Art conservators use the technique to examine how the visible layers of paint differ from the underdrawing or layers in between (such alterations are called pentimenti when made by the original artist). This is very useful information in deciding whether a painting is the prime version by the original artist or a copy, and whether it has been altered by over-enthusiastic restoration work. In general, the more pentimenti, the more likely a painting is to be the prime version.
|
|
They are frequently used on rough paper that holds pigment grains well. They can also be used on prepared primed canvases for underdrawing for a painting. The sticks' square profile make Conté crayons more suitable for detailed hatched work as opposed to the bolder painterly drawing style demanded by soft pastels.
|
|
The Madonna and Child with the Infant Saint John the Baptist is a lost composition by Leonardo da Vinci. The composition is known through a handful of paintings attributed to artists in Leonardo's circle. An original underdrawing by Leonardo may be preserved in a version in a private collection in Moscow, Russia.
|
|
Detail of the heads at right For all the known history of the painting it has been together with the NG 1078 Lamentation, but this goes no further back than early 19th-century London. Whether the two originally formed part of the same polytych is not quite certain, but it seems most likely.Campbell, 145; Ainsworth, 177 The Lamentation is some 3 cm larger in both dimensions, and its underdrawing "is inconsistent in style and some parts can be reconciled with the underdrawing of the Adoration", but others not.Campbell, 144 In the two panels the figures are about the same size, and the horizons at the same level, and no other panels of these dimensions are attributed to David or his workshop.
|
|
Apart from several small changes in the position of hands and faces, the under-drawing shows that the small pilasters on the left wall were originally planned to be repeated on the rear wall, and to be much taller, reaching nearly to the roof, on both. The paint on the rear wall is thicker than on the left wall, so he may have painted the pilasters before changing his mind. In the underdrawing the ceiling planks are all in place, and there was also a light source to the right, for which the shadows are drawn.Gifford pp 2 & 3 The narrative scenes on the tiles replace a simpler decorative plan in the underdrawing, and the stool has become much larger.
|
|
The panels’ dimensions are approximately 99 x 92 cm in size. Each of them is composed of three sycamore boards 2 cm thick that are joined with pegs and covered with linen canvas. The underdrawing on the chalk base was executed in charcoal and engraving. The painting was executed in tempera and pigments were bonded with gelatine.
|
|
Technical analysis shows extensive underdrawing, typical for Memling. They were completed in a dry medium except for the dove and the flask and candles on the sideboard. Revisions during the final painting included the enlargement of the Virgin's sleeves and the repositioning of Gabriel's staff. Incisions were made to indicate the floor tiles and the dove's position.
|
|
Léon Bonvin - Still Life on Kitchen Table with Celery, Parsley, Bowl, and Cruets - Walters 371504, watercolor and brush with graphite underdrawing, pen and iron gall ink, and gum varnish on heavily textured, moderately thick, cream wove paper. Charles Léon Bonvin (February 28, 1834 – January 30, 1866) was a French watercolor artist known for genre painting, realist still life and delicate and melancholic landscapes.
|
|
The black hat on the chair seems to have been a late addition. There are visible passages of underdrawing where the artist seems to trace out shapes and positions, established in the preparatory sketches, onto the grounded canvas. These include squared lines around the left shoulder and chest areas. There are lines mapping out the throat and top edge of the bodice.
|
|
The hands were initially held higher, but were lowered in the finished piece into a less assertive position. The necklace Giovanna is wearing in the final portrait was originally a string of beads and featured a different pendant. The other accessories in the background were not present in the underdrawing. Ghirlandaio also modified the hair styling and the curves of the figure's body.
|
|
350px Holy Family under an Oak Tree or Madonna of the Oak Tree is an oil on panel painting by Giulio Romano using a composition or underdrawing by Raphael. It is now in the Prado in Madrid. It is dated to c.1518 by its stylistic similarities to other works produced by the two artists around that time such as La Perla (Prado).
|
|
In 1930, Tancred Borenius attributed the Ashmolean version to Leonardo. Though this has gone undisputed, it has not been accepted by most scholars of Leonardo. Recent research by a consortium of Leonardo experts argues that the Moscow version is likely the origin of the composition and may contain an underdrawing by Leonardo's hand. The consortium included Alexander Kossolapov, Martin Kemp, and Thereza Wells.
|
|
Lamentation over the Dead Christ is a c.1500 tempera on panel painting by Giovanni Bellini. It is in chiaroscuro and may have been intended as a studio exemplar for his pupils or the uncompleted underdrawing of a full painting. It was given to Ferdinand III, Grand Duke of Tuscany by doge Alvise Giovanni Mocenigo in return for a gold, diamond and pietra dura snuffbox.
|
|
His view was shared, some 30 years later, by Panofsky, who saw weakness in the portrait he believed irreconcilable with as skilled and accomplished a painter. Attribution to van Eyck is now broadly accepted since an infra-red photography examination carried out during a 1991 restoration revealed an underdrawing and paint handling very similar to that found in confirmed, signed works by the artist.
|
|
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. The first layer may be a ground, usually applied all over the surface. Then an underdrawing in outline may follow.
|
|
The work is painted on a mahogany panel, primed with a white ground, and measures . It may have been painted wet-on-wet on a second ground, with graphite underdrawing. The paint is thinly applied in some areas to enhance the reflective effect of the white ground, but thickly applied in others. The woman's blue dress is painted with two blue pigments, Prussian blue and ultramarine.
|
|
The restoration work revealed new information about the painting, namely, that Sequeira had used his own fingerprints to give texture to the mantles of the Magi, and that the artist made very little alteration to the compositions seen in the underdrawing. The painting was unveiled on 14 July 2016, on the same day as the newly-renovated gallery of 12th to 19th-century Portuguese painting and sculpture.
|
|
Technical examinations show that it was originally even closer to the Bellini in Detroit, and that many changes were made in the course of painting. Unlike Bellini's usual careful underdrawing, Titian "used as his guidelines only summary strokes made with a fairly wide brush with thin wash shading".Hale, 64 Among several other changes, the head of the Child originally looked out at the viewer.
|
|
A Lady with a Fan is a 1645-1650 painting by Ferdinand Bol, now in the National Gallery, London, to which it was bequeathed by Miss A.M. Philips in 1946. The subject has not been identified, though her clothing allows the painting to be dated. The underdrawing of the painting includes several pentimenti, showing the artist changed the composition as he produced the work.
|
|
The Turin painting has a simpler paint structure than the other, more extensive underdrawing, and finer pigment particles, and the colours differ. The stones in the Philadelphia painting are darker and more orange than the predominantly grey hues of the Turin rocks. The greenery in the Philadelphia version shows more discolouration than in the other. Under magnification the paintings' brush strokes are near identical, particularly in the rendering of the clouds.
|
|
Saint Barbara, 1437. Oak panel, 41.4 × 27.8 cm. Royal Museum of Fine Arts Antwerp, Belgium Saint Barbara is a small 1437 drawing on oak panel, signed and dated 1437 by the Netherlandish artist Jan van Eyck. It is unknown if the work is a chalk ground study in pencil for a planned oil painting, an unfinished underdrawing or a completed work in of itself,"Unfinished: Thoughts Left Visible".
|
|
However, the painting was not finished until six years after his death, in 1432, so the degree to which the surviving altarpiece reflects his work, rather than that of Jan who took it over, remains much discussed. An inscription on the frame, which was destroyed in the beeldenstorm in 1566, stated that Hubert van Eyck "maior quo Nemo reports" (greater than anyone) started the altarpiece, but that Jan van Eyck – calling himself "are Secundus" (second-best in the art) – completed it in 1432.. Writing in 1933, art historian Bryson Burroughs, who at that time attributed to Hubert the Crucifixion and Last Judgement diptych, describing him as "the fountainhead of northern painting", suggests he did the underdrawing for the Ghent Altarpiece with Jan painting in after his brother's death; some form of this view remains common among specialists. Modern scientific investigation reveals various changes between the finished work and the lower painted levels and the underdrawing. Today the inscription is often regarded as an overgenerous fraternal tribute.
|
|
It is known that from the early 16th century onwards numerous copies and variations of his paintings began to circulate. In addition, his style was highly influential, and was widely imitated by his numerous followers.Gibson, 163 Over the years, scholars have attributed to him fewer and fewer of the works once thought to be his. This is partly a result of technological advances such as infrared reflectography, which enable researchers to examine a painting's underdrawing.
|
|
Thinning paint has revealed some of the underdrawing and pentimenti. It was in the collection of Hollingworth Magniac, known as the Colworth collection, and then sold from the estate of his son Charles Magniac in 1892 and bought by Robert Thompson Crawshay (the fourth son of Robert Thompson Crawshay). It was later bought by an art dealer, the Galleria San Giorgio in Rome, and it was bought by the National Gallery in 1934.
|
|
Also in this portrait, the careful preparation of the composition is also shown by the underdrawing, which appears in some areas. These hatches are present and well visible on the portrait, even sometimes through the painting and glazes. For instance, they appear particularly on the temples and cheek of the sitter. The lines are visible on the IR photos, carefully designing the hair around the face, as well as the position of the hands.
|
|
The angels' wings to Mary's left are visible, but not those to the right, probably because of later overpainting. In the underdrawing Mary's gown extends far to the left of the angel, but Christus apparently changed his mind about its execution. The work has suffered damage: cracking where three wood panels are joined, paint loss to parts of the crackle pattern, and discoloration of varnishes. The largest area of paint loss occurred on Joseph's shoulder.
|
|
Oil on lime-wood panel. The dimensions of 72 x 88.5 cm are the result of the sides and bottom part of the original picture being cut off before 1815. The missing bottom part contained texts and survives in the copy of the picture that is also in the collection of the National Gallery in Prague. Infrared reflectography revealed underdrawing executed freehand with numerous small details determining the physiognomy of the figures.
|
|
A range of mostly mineral pigments are used, giving a palette based on reds, yellow and blues. Underdrawing was used, which may remain visible or reinforced by painted edges to areas of colour in the final layer. From the 15th century the Theotokos or Virgin Mary, with or without her Child, became increasingly popular. They used versions of a number of common Byzantine types, typically flanked by two archangels in iconic depictions.
|
|
The Master of the Litoměřice Altar's facial type is characterised by slender noses, plastically modelled faces with rounded chins and accentuated eyelids. His figures have soft wavy whiskers and hair. The painting technique used in highlighting the muscles and anatomical details reveals the underdrawing shining through in places. The painter's heightened interest in realist depiction is clear, for example, in the painting of the hands that are no longer indicated in outline but have correctly depicted joints and muscles.
|
|
In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
|
|
Luuk Hoogstede, Ron Spronk, Matthijs Ilsink, Robert G. Erdmann, Jos Koldeweij, Rik Klein Gotink, Hieronymus Bosch, Painter and Draughtsman: Technical Studies, Yale University Press, 2016, pp. 172 – 181 The pigments employed are red lake, azurite, lead- tin-yellow and ochres.Hieronymus Bosch, The Adoration of the Magi (New York), ColourLex The precise authorship of this panel is and has been disputed, but in 2016 the Bosch Research and Conservation Project attributed it to Bosch based on evidence in the underdrawing.
|
|
The painting adheres to the underdrawing and only occasionally makes the form more specific. Cranach digital archive: Law and Grace 1529, Inv. no. CZ_NGP_O10732 Infrared reflectography examination of the copy of the original picture measuring 87 x 88.5 cm,Cranach digital archive, The Law and the Gospel 1500 - 1599, Inv. no. CZ_NGP_O9619 whose visual composition is identical to the original but which still retains the texts, revealed a squared grid that was used in making it.
|
|
Tompkins' first husband possessed a collection of pornographic magazines and images, amassed since the late 1950s (possession of these images was, at the time, illegal). The works were produced using hundreds of layers of spray paint, using a finely-calibrated airbrush to build from underdrawing to final image. These early works were made solely with black and white pigments, with extremely high contrasting tonality. Since returning to the series in 2003, Tompkins uses a base color combination to produce a more illuminated monochrome.
|
|
Thus Alessandro seems better placed politically, standing to Paul's right in a pose that recalls traditional depictions of Paul the Apostle, and his hand is raised as if in blessing. In the end, Paul was unable to influence his succession after Charles V weakened the Medici hold on the office. The work is unfinished; a number of details, most noticeably the pope's right hand, are missing. Other passages are bland and uniform, with some key areas still blocked by the underdrawing.
|
|
Both the heads of the imperial court workshop essentially supervised the work of others, and it is uncertain whether Samad painted any of miniatures himself,Beach, 61 though he may have done or corrected much of the underdrawing. But one miniature, of "Elijah the prophet rescues drowning Nur ad-Dahr," is credited to Mir Sayyid Ali. Along with the portrait of his father, Mir Musavvir, and the "Wise men, reflecting on the book", this shows his late style. late master.
|
|
Flora was painted on wood panel which was transferred to canvas in the nineteenth century. Despite this, the paint layers are reported to be in good condition with a well-preserved underdrawing and minor losses and abrasions to the surface. In 2019, the painting underwent a conservation treatment performed by Maria Vyacheslavovna Shulepova (Марией Вячеславовной Шулеповой) of the State Hermitage Museum. Before, the painting was covered in a yellowed varnish which obscured details and flattened the appearance of the background.
|
|
The blue and ultramarine paint may be later additions.Nash (2008), 143-5 Some areas and passages are more detailed than others, and it has long been debated if it is an autonomous drawing or the underdrawing for an unfinished painting. If it was intended as extant, it would be the earliest surviving drawing of any artist, although not prepared on paper or parchment. Evidence includes that the work was highly regarded at the time by Flemish aesthetics as an object in itself.
|
|
While Giampietrino omitted the swan in the Kassel painting, the eggshells betray the divine liaison. Infrared spectroscopy has revealed two different underdrawings: one underdrawing corresponding with the figure of Leda and her children, and a second one, using the spolvero technique, exactly repeating The Virgin and Child with Saint Anne of the Louvre. This states the existence of an original cartoon by Leonardo accessible to his pupil Giampietrino. If Giampietrino also used a cartoon of the Leda by his master is still unknown.
|
|
These structure and composition match perfectly those found on other certified panels of Peter Bruegel. Moreover, it is noticeable that the wood charcoal particles are very peculiar, being very long and acicular, exactly the same as those found only in The Census from the same Museum. This related work by Joos de Momper includes the ploughman and angler, but Icarus is still in flight, with wax drops falling. Recently, a study of the underdrawing using infrared reflectography has been published.
|
|
Simeon is dressed in green and appears quite regal, although he appears to be crying, perhaps because he knows the tragedy that awaits Christ in later life.Kenney, 88 He holds the Christ child, the stained glass behind them shows a representation of Moses holding the Tablets of Stone.Wellesz, 5 The later version is more expansive, contains many more characters, and delves into the later stages of the biblical story.Wellesz, 5 Reflectology indicate there was very little preparatory underdrawing undertaken before the final paint was applied.
|
|
The artist often painted this subject during his mature period and produced several variants of it during his time in Prato. The composition, general underdrawing and the painted figures of the Virgin, Christ and St Vincent are by the master, whilst other large areas of the work were painted by his studio assistants, particularly Fra Diamante. Some attribute the figure of St Joseph to Filippino and/or Botticelli. As with Lippi's Madonna della Cintola, the work was produced in phases one year after another.
|
|
Moreover, close examination of the work suggests that the sky was painted after the figures were executed, since the blue brush strokes appear to follow the contours of the figures and are perceptible not only on the surface but also in x-radiographs. When examined using infra-red techniques, the Madonna of the Meadow also betrays an underdrawing, completed when the design was transferred onto the panel; the marks left by this transfer are clear, and the lines that connect them are precise, illuminating the artist's process.
|
|
The varnish is severely degraded, with key areas of paint and ground either removed or overpainted. Infrared photography of the reverse reveals traces of short vertical hatching and underdrawings, but no hint as to the identity of the sitter. Its ground is mostly chalk-based; the pigments are predominantly blacks, red lake, and blues. The final portrait differs in many ways from the underdrawing – the fingers are shorter, the right thumb and the parapet are lower, and the right arm once extended over a larger area.
|
|
The altarpiece has the two St Johns flanking the heavenly figures, whereas here the single donor is shown to the left of St Catherine. Guy Bauman suggests the donor's presence on the left is intrusive, writing that Memling's proclivity for symmetry "has resulted in a curious compositional solution that balances the donor with Saint Barbara's tower".Bauman (1986), 25 Ainsworth explains the panel "reveals spontaneous and rather detailed underdrawing", which is typical for Memling. She speculates he used preliminary workshop studies as a basis for this panel and other similar renditions of the same scene.
|
|
The work is a three-quarter half-length portrait of Portinari, who is turned to his right, and set against a dark background. He wears a black cape, from which the collar and sleeves of a dark robe protrude, typical garments of the upper middle class of the time. His hands are clasped as if praying, with his elbows resting on a parapet at or just below the lower edge of the frame. Underdrawing shows that Memling changed the position of Tommaso's hands to make them less vertical.
|
|
The painting was made using acrylic Liquitex on a white cotton duck canvas, with no underdrawing. Hockney uses a limited palette – cobalt blue, ultramarine blue, raw sienna, burnt sienna, raw umber, Hooker's green, Naples yellow and titanium white – applied either mixed together or as tints. Apart from the splash, the painting was finished very evenly and flat with a paint roller, in two or three layers, with the few details – tree, grass, chair, reflections – overpainted. The central splash was heavily worked over a period of about two weeks using a variety of small brushes.
|
|
Basilica of San Lorenzo, Milan, with underdrawing revealed. Milan was the main military centre of Northern Italy, controlling the roads to the north, and the effective capital of Constantius II, Constantine's son. The large octagonal Chapel of San Aquilino in the Basilica of San Lorenzo, Milan was perhaps built as an Imperial mausoleum for Galla Placidia about 400. It has an apse mosaic of a Traditio Legis with a beardless Christ in white robes flanked by the apostles, as part of a much larger scheme, now remaining only in fragments.
|
|
The panel is highly illustionistic, perhaps on par with the older painter's Durán Madonna. Christus employs trompe-l'œil techniques in a number of passages, creating a three-dimensional effect that adds to the strangeness and disembodied atmosphere. These can be most notably seen in the Virgin's hand as it lies below the child's toes, in the orb held in his hands, and in the golden letters hanging from the tree briars.Ainsworth (1994), 164 X-radiography reveals little preparatory underdrawing outside of a series of ruled lines used to situate elements within the overall design.
|
|
Through these various relocations, the painting was damaged. The panel had several cracks in the upper half, while there was rippling and bowing throughout. Italian artist Giuseppe Molteni, retained to repair it in November 1857, chose to preserve the panel rather than transfer the painting to canvas and spent months flattening the panel and hydrating it to overcome the damage of desiccation. This decision on the part of Molteni has permitted 20th-century art historians to use infrared reflectography to study the underdrawing beneath the completed art work.
|
|
On the left King Balthasar, portrayed as a dark- skinned king, still wears his crown and holds an orb of myrrh. In the background the retinue of each of the three magi can be seen above their heads. The magi are thus shown twice, once in the foreground and again in miniature in the background, arriving with their retinue from Africa, Europe and Asia. An x-ray examination of the underdrawing shows that originally the European retinue of Melchior had him riding a horse and this was later changed to a dromedary.
|
|
To either side stands a person with a sheathed sword; buildings in the background in Byzantine reverse perspective frame the scene under a luminous gold sky.Hotel des Ventes de Senlis Sarl, 27 October 2019, Turquin An infrared reflectogram has revealed Cimabue's underdrawing. Damage to the paint shows the panel was removed from the bottom left corner of a frame, and the edges have been evened-up with a dark border. It is suspected that an original red border is underneath, like the two other surviving paintings from the diptych, which also show similar woodworm holes.
|
|
Memling almost certainly was apprenticed to van der Weyden in Brussels until setting up his own workshop in Bruges sometime after 1465.Borchert (2008), 87 Memling's Annunciation is more innovative, with motifs such as the attendant angels that were absent in the earlier paintings. According to Till-Holger Borchert, not only was Memling familiar with van der Weyden's motifs and compositions, but he might have assisted with the underdrawing in van der Weyden's workshop. The shutters on the right are copied from the Louvre panel, the knotted curtain appears in the Columba triptych's "Annunciation".
|
|
380px Portrait of a Woman is a 1512 oil on canvas painting by Sebastiano del Piombo, dated by the artist and now in the Uffizi in Florence. A 1589 inventory misattributed it to Raphael and another to Giorgione, with the latter misattribution lasting until 1784. The gallery's director Tommaso Puccini reverted to Raphael in 1793 and - exhibiting it in the Tribuna of the Uffizi - claimed it was Raphael's portrait of La Fornarina mentioned by Vasari. Missirini argued its subject was Vittoria Colonna and reattributed its underdrawing to Michelangelo and painting to Sebastiano.
|
|
The painting was built up in a two-stage process where layers of darker pigments over which progressively lighter tones were added.Jones, 11 For example, Catherine's dress began with an underlayer of dark blue over which a lines of brighter blue was added to create the illusion of vertical folds in the cloth. This technique of dark to light is the opposite to the general approach with oils where darker colours are layered on lighter pigments. Infrared photography reveals an underdrawing and a black layer of underpaint."Abstract".
|
|
His early works generally use the Venetian technique of freehand underdrawing on the surface to be painted, no doubt following a relatively approximate sketch, as was his technique for the Kingston Lacy Judgement of Solomon.M&S;, 8 But after some years in Rome he began to use full-size cartoons for frescos, which were pricked along the lines and then soot "pounced" through, to give dotted lines on the surface for the artist to follow. This technique, normal in Florence and Rome, was used in the fresco Transfiguration of the Borgherini Chapel, for which some pricked sheets survive.
|
|
In its current condition the muted landscape appears to echo the sorrow of the mourning figures. X-ray analysis shows that there were a few preparatory drawings made with chalk before the paint was applied. This is left exposed in some areas, most noticeably in the Virgin's veil and mantle and in Christ's shroud.Campbell, 40 Infrared photography reveals little underdrawing but indicates that the canvas underwent several changes before completion; Mary Salome was repositioned slightly to the left, the sizes of Nicodemus' arm and shoulder were reduced, and the Magdalen's face was painted over the Virgin's mantle.
|
|
After their arrival, the chapter shifts to when the Tezi Altarpiece was first commissioned in Perugia. Following the legalities of noting the commission, the maestro sets out to have the poplar panel made by a local craftsman, who is the first to refer to the maestro by his name, more than halfway through the chapter. The painstaking process of preparing the wood is gone through in incredible detail to demonstrate the assistants' favor with the maestro. When the underdrawing is finally to be drawn onto the canvas, Aulista is chosen to demonstrate the process to the gathered apprentices.
|
|
The generally accepted view was that Pieter Claeissens would have worked in a more progressive style. The study of four of the five signed panels (the fifth painting has not been seen since 1951) has enabled art historians to form a coherent image of the painting technique and composition style of the artist. Research with infrared reflectography of two of his paintings allowed the study of the underdrawing by the artist and support certain attributions to the artist. The complex situation of various family members working in the same workshop has created additional problems of attribution of works to individual family members.
|
|
Detail showing the male subject, probably Giovanni di Nicolao Arnolfini The painting is generally in very good condition, though with small losses of original paint and damages, which have mostly been retouched. Infrared reflectograms of the painting show many small alterations, or pentimenti, in the underdrawing: to both faces, to the mirror, and to other elements.Campbell 1998, 186–191 for all this section, except as otherwise indicated. The couple are shown in an upstairs room with a chest and a bed in it during early summer as indicated by the fruit on the cherry tree outside the window.
|
|
Sketching is generally a prescribed part of the studies of art students. This generally includes making sketches (croquis) from a live model whose pose changes every few minutes. A "sketch" usually implies a quick and loosely drawn work, while related terms such as study, modello and "preparatory drawing" usually refer to more finished and careful works to be used as a basis for a final work, often in a different medium, but the distinction is imprecise. Underdrawing is drawing underneath the final work, which may sometimes still be visible, or can be viewed by modern scientific methods such as X-rays.
|
|
The painting had come to the U.S. in 1883 and had hung over the fireplace of a middle-class family home until the 1970s. In a 2011 book, The Lost Michelangelos, Forcellino expresses the opinion that the painting is Michelangelo's. This attribution is not yet widely shared. According to Kristina Herrmann Fiore, a curator at the Borghese Gallery in Rome, the painting's underdrawing is conceivably by the hand of Michelangelo, whereas Alexander Nagel, a professor at New York University Institute of Fine Arts believes that the painting is merely a copy of a composition by Michelangelo.
|
|
The image was much copied, with a very high-quality copy assigned to van Eyck's workshop just after the original (Private collection, Maastricht).Evans, no. 353 There is a workshop drawing of the central figures by Gerard David of about 1500–1510 in the Kupferstichkabinett Berlin, presumably used for his version of the figures, now with four angels and a panoramic landscape background of Bruges, now in the Metropolitan Museum of Art, New York. This was planned as a precise copy, but the new elements were added while the work was in progress, as modern scientific analysis of the underdrawing shows.
|
|
Probably because the thin, weakly covering paint on white ground would hide imperfectly a detailed graphism. A re-interpretation of the reflectograms in agreement with the other analysis suggested the conclusion that the work in the Museum of Fine Arts in Brussels is a panel painting transferred to canvas. The paint layer and maybe also the underdrawing have been severely damaged by this intervention as well as by two more relinings, responsible for the heavy overpainting. In the paint sample remains a fragment with structure and composition matching perfectly the technique of the large panels attributed to Peter Bruegel the Elder.
|
|
The Christ Child holds a golden apple, perhaps referring to the Judgement of Paris and to Mary as the "new Venus". Pellizzari's theory that the work originally had a golden background like an icon was disproved by a 1986–87 restoration, which showed that the original background had been a blue sky, seen either side of a central curtain. The curtain remains, but the sky was hidden in the 16th century by two gold stripes. Infrared examination during the restoration also revealed the panel's preparation with glue and plaster and the chiaroscuro underdrawing, both typical of Bellini and both also mentioned in Paolo Pino's 1548 Dialogo di pittura.
|
|
Châtelet additionally credits Hand G with parts of The Intercession of Christ and the Virgin in the Louvre (p.195) Examination under infra-red light has shown underdrawing for a different composition in the Birth of John the Baptist, who was the patron saint of John, Count of Holland.Châtelet, 194–5 The unique and enigmatic seashore subject seems to illustrate an episode from the ferocious internal politics of the family, who can be clearly identified by the arms on a banner. Châtelet suggests the Peace of Woodrichem in 1419, when John succeeded in wresting control of her inheritance from his unlucky niece Jacqueline, Countess of Hainaut.
|
|
Penny, 204 The painting by Paolo Veronese now in Rennes, 1576–1578, which is similar to the Titian when reversed When Andromeda was moved to the left of the painting her pose was different from the final painting, more similar to the original one when she was on the right. There were several different positions, some taken no further than underdrawing, for Perseus' limbs, sword and shield. The monster originally rose higher out of the water.Ingamells, 352, 355 In a dissident view, Rearick sees the Wallace collection canvas as a second version, the original being the one delivered to Philip in 1556, and now lost, with Andromeda on the right.
|
|
Dated c. 1554 and attributed to Titian's workshop, although the master himself may have done the "bold underdrawing", and painted the head of Adonis and Venus' hair.Penny, 276; Galleria Nazionale d'Arte Antica, Rome Penny proposes that it was the "studio model" kept in Venice when the Prado version was sent to Madrid, and including minor improvements to the composition, which can then be seen being followed in later versions (of the Prado type), that were made by copying it. These would include the Getty, Lausanne and Rome versions, which have the main features in sufficiently identical positions to the London version to have been traced from it, which would not have worked from the Prado version.
|
|
Sinopia of Peter's Repentance Peter's Repentance is found in the left semi-lunette of the upper register, where a very schematic preparatory drawing of the sinopiaThe sinopia is the underdrawing for fresco made with reddish, greenish or brownish earth colour with water brushed on the arriccio layer, over which the intonaco is applied before painting. Red earth (iron oxide) mined by the town of Sinopia during the Renaissance period (present Turkey), currently depleted, gave the name to the method. During Giotto times and before Sinopia was the main preparatory drawing - the entire fresco was designed in Sinopia directly on the wall. Cartoons were implemented later after the perspective was "invented" and more thorough composition development became essential.
|
|
A binding agent for pigment was made by boiling animal skin mixed with other organic tissue and applied to linen, itself prepared with a thin layer of glue.Jones, 10 The linen was ground, but sometimes treated, by both the glue and also white chalk, which allowed a surface suitable for underdrawing and a base that would not absorb the final layer's pigment.Campbell, 29 The advantage of using glue as a binder is that the colours render as matte and opaque textures suited to austere or mournful images as opposed to the translucent appearance associated with oil. Many reds and blues bound in glue would have appeared with a brilliance and intensity difficult to achieve with oil.
|
|
Art historian Lorne Campbell believes the painting was influenced by Robert Campin's Frankfurt Virgin and Child both in the ideal of feminine beauty it presents and for its elegant use of long folded draperies. Campbell notes that both works are composed from strong diagonal lines, with the main figures pushed out into the center foreground, in an almost trompe-l'œil manner.Campbell, 19 The Durán Madonna is often compared to van der Weyden's Miraflores Altarpiece, both for the colourisation of Mary's dress and for a sculptural look similar to the reliefs shown in the earlier triptych. In addition, the underdrawing of Mary's head is strikingly similar to that of the kindly, idealised Madonna in his Froimont Diptych (after 1460), now in the Musée des Beaux-Arts, Caen.
|
|
Thanks to successive overpainting, however, the flesh tones have remained very well preserved. The picture is identical with the Třeboň Altarpiece in terms of the construction of its frame, the foundation layer and the painting technique - specifically the red earth underdrawing and the delicate engraved drawing in the drapery; the light flesh tones on a foundation of white paint without coloured underpainting; the radiant lazure painting and the exceptional feeling for painting; the masterful sienna painting in the semi-shades; the gilding on black poliment and the same character of the halos.Frömlová 1971, pp. 578-580, 584 The central figure of the Virgin Mary leaning over the Infant Jesus in his cradle is accompanied on the left by the kneeling and gesticulating Joseph.
|
|
However, from the earlier pages he seems to be grappling with the techniques for the first time. He was successful early on in showing space receding over reflective water or within interior spaces, but appears to have experienced more difficulty with landscape.Crawford, 11 Early attempts, for example Christ in the Garden of Gethsemane in which three imposing figures in the foreground are presented before a distant hillscape, see him, perhaps crudely, eliminating the mid-ground to create the illusion of distance. Yet the underdrawing show him already experimenting with more effective and innovative techniques he was later to master, such as lowering the line of the horizon, and using radiating verticals to increase the sense of depth.Crawford, 12 Bas-de-page of the Baptism of Christ, Hand G, Turin. Milan Filio 93v, Inv 47.
|
|
Hands I–K are all working in a similar Eyckian style, perhaps following underdrawing or sketches by Hand G, and are usually seen as members of Jan's workshop, although many now think work continued after Jan's death, which was by 1441 (Hubert had died in 1426). Many iconographical, as well as stylistic correspondences have been noted with other manuscripts and painting produced in Bruges from the 1430s on, and it seems clear that the manuscript was located there at this time. Numerous suggestions have been made as to their identities, mostly as anonymous illuminators named after a particular work. Hand K is the latest and generally the weakest of the later group, working up to about 1450, and "probably painting outside the workshop environment"; he is often identified as, or linked with, the Master of the Llangattock Hours.
|
|
Although some of the similarities are undeniably striking and might be attributed to following a template, the degree of sophistication in the Nativity far surpasses the other two painters, according to Ainsworth. She writes that Bouts and van der Weyden "merely expand the narrative" in their use of the archway motif, whereas Christus shows a strong cause and effect between sin and redemption, innovations which almost certainly evolved later in his career, placing the date no earlier than the mid-1450s.Ainsworth (1994), 158–160 Detail of the painting before it was cleaned and restored in the early 1990s, when the gold paten on Mary's gown and the faint halo around her head were removed. The underdrawing is visible through modern technical analysis, revealing the main group of figures and contour lines in the folds and drape of the clothing.
|
|
Kemp said of the painting: > This is the most remarkable of the narrative Madonnas, with the child > reacting to the goldfinch which is held up by Saint John with him clinging > onto the lamb, the sacrificial animal ... As far as attributions go it is > very difficult because you've got studio production, you've got various > artists of various status, you've also got later of followers ... But the > Leonardo involvement in the inventione is perfectly clear. Kossolapov argued that the Moscow painting is the work by Leonardo and his workshop. Kemp and Wells were more reserved and concluded there were no clear signs of Leonardo's hand in the underdrawing. They further concluded that there probably never was an 'original' painting and the Moscow and Florence versions would have been regarded as 'Leonardo's', that is, works produced in Leonardo's brand.
|
|
Self-portrait at the Easel, 1603-1604 Self-Portrait on an Easel is a 1603-1604 oil on panel painting by Annibale Carracci, now displayed in Room 231 of the New Hermitage Building of the Hermitage Museum in Saint Petersburg (inv. GE-148). The portrait from the work was repeated for an autograph self- portrait now in the Uffizi, whilst a 1595 version of the Hermitage work is also in the Uffizi. The Uffizi work It shows a self-portrait of the artist resting on an easel, with a palette hanging from the easel, a dog and a cat behind the easel's legs and a woman's silhouette in front of a window at the top left hand corner. An initial underdrawing for the work is visible to the naked eye, showing that the original intention was for the portrait to occupy the whole panel.
|
|
Ridderbos et al, 341 He is thought to have originated from the southern Netherlands and is known for his vibrant colourisation in panels depicting scenes from the infancy of Christ, he is thought to have been a pupil of Rogier van der Weyden, and is named after a copy of the "Adoration of the Magi" panel from that painter's St Columba Altarpiece.Ridderbos et al, 314 Although the Magi became a popular topic for northern painters in the second half of the 15th century and the Columba altarpiece was widely copied, the master is associated with van der Weyden's workshop because the copy is so close, it is believed he must have had access to a reproduction of the underdrawing. Six panels are today associated to the master; five showing scenes from christ's infancy and one of Saint Francis."Master of the Prado "Adoration of the Magi"" National Gallery of Art, Washington.
|
|
Legouix, 8; Lightbown, 311, 314 A considerable number of works, especially Madonnas, are attributed to Botticelli's workshop, or the master and his workshop, generally meaning that Botticelli did the underdrawing, while the assistants did the rest, or drawings by him were copied by the workshop.Lightbown, 314 Botticelli's linear style was relatively easy to imitate, making different contributions within one work hard to identify,Ettlingers, 79 though the quality of the master's drawing makes works entirely by others mostly identifiable. The attribution of many works remains debated, especially in terms of distinguishing the share of work between master and workshop. Lightbown believed that "the division between Botticelli's autograph works and the paintings from his workshop and circle is a fairly sharp one", and that in only one major work on panel "do we find important parts executed by assistants";Lightbown, 312 but others might disagree.
|
|
Bermejo’s documented professional career began in Valencia in 1468 with a first payment for an altarpiece dedicated to Saint Michael for the Parish Church in Tous, near Valencia (the central panel of which is in the collection of the National Gallery, London). The patron was a local nobleman, Antonio Juan, to whom Tous belonged. No documentation of other work from that period seems to have survived, but there is evidence that he returned there for a short time around 1485, when he painted the signed central panel of the Triptych of the Virgin of Montserrat, ordered by an Italian merchant who was living there, Francesco della Chiesa, for the Cathedral of Acqui Terme, his hometown. The wings were carried out by the Valencian painter Rodrigo de Osona, though there is some evidence that Bermejo was responsible for at least part of the underdrawing and some of the painting.
|
|
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 the Master of the Grigg Crucifixion A sinopie for a fresco by Buonamico Buffalmacco (1290-1341), in the Museum of Sinopie in Pisa Sinopia (also known as sinoper, named after the now Turkish city Sinop) is a dark reddish-brown natural earth pigment, whose reddish colour comes from hematite, a dehydrated form of iron oxide. It was widely used in Classical Antiquity and the Middle Ages for painting, and during the Renaissance it was often used on the rough initial layer of plaster for the underdrawing for a fresco. The word came to be used both for the pigment and for the preparatory drawing itself, which may be revealed when a fresco is stripped from its wall for transfer.
|
|
Borchert, 35 Artists did not give titles to their works during the Northern Renaissance period, and as with any portrait of a sitter whose identity is lost, the painting has attracted generic titles over the years. It had long been thought that the ring held in the man's right hand was meant as an indication of his profession as a jeweller or goldsmith and so the painting was long titled on variants of such. More recently the ring is interpreted as an emblem of betrothalBorchert, 42 and the titles given by various art historians and publications since are usually more descriptive of the colour or form of the headdress. The painting was attributed to van Eyck in the late 19th century, but this was repeatedly challenged by some art historians until a 1991 cleaning when infra-red photography revealed an underdrawing and methods of handling of oil that were unmistakably van Eyck's.
|
|
In some cases it is evident which version of a work is prime, especially if there is a full provenance including a contract or other documentation of the original commission; a contract for a copy will normally make that clear. Otherwise experts will look both at the overall quality of the work, and also technical elements such as detailed underdrawing and pentimenti (changes of mind) that indicate that the artist was finalizing his idea of the work as he proceeded. Infrared and X-ray photography are among the scientific techniques that may help in discovering these technical issues.Christiansen (1986), 436-438, and 432, provide examples of such discussions, relating to various paintings by Caravaggio Close comparison with the evolving style of other works by the artist and the comparison, ideally physically side by side, between two rival versions will often lead to a clear conclusion,Millar but sometimes arguments between experts may take decades to reach a conclusion, as with other issues of attribution.
|
|
When the underdrawing was finished, the artist then applied a new thin layer of wet plaster, covering just enough area as he could work in one day. Before the plaster could dry, he filled in the colours into the plaster, following the visible lines of the sinopia. To make the faces in the final fresco, Cennini recommended that the artist first paint them with an undercoat of brownish green, called a verdaccio. When that was dry, then he painted the flesh tones, made with ochre, lime white and a light red called cinabrese; then he painted the whites of the eyes and white highlights; then used black for the pupils of the eyes, the nostrils, openings in the ears and lines around the eyes, and then used a fine brush and sinopia to paint the lines under the eyes, around the nose, the eyebrows, the mouth and the shading under the upper lip.
|
|
In addition to the drawing in the British Museum illustrated here, there are other drawings by Michelangelo there and in Bayonne,British Museum; the other main drawing all of Lazarus and the two men supporting him, except for one of a foot, perhaps relating to Christ.Gould, 243–244 Modern imaging techniques show that a different figure of Lazarus exists in the underdrawing, which was apparently changed to match one of Michelangelo's drawings (illustrated below) while painting was in progress, perhaps when Michelangelo visited Rome in January 1518.M&S;, 24, 25 A drawing by Sebastiano seems to contain a sketch for this figure as well as one for the Saint Peter in the painting.M&S;, 27 In Frankfurt there is a drawing by Sebastiano of the figure of Martha, which is close to the painted figure.M&S;, 23; Gould, 244–245 The existence of more drawings by Michelangelo, now lost, for at least the figure of Christ, has been postulated by some scholars. In addition, there are a number of letters between the artists and others which record the progress of the commission.
|
|
In 1923 Umberto Gnoli reattributed it to Giacomo di Ser Guglielmo of Città della Pieve - according to Gnoli this painter had collaborated on all the works Perugino painted in his birthplace after 1510 Umberto Gnoli, Pietro Perugino, publication Claudio Argentieri, Spoleto,1923 . He argued that the "large square forms, especially in the faces" were typical of Ser Giacomo, as were the thick and stocky figures and the red hairs still visible in Deposition (Santa Maria dei Servi church, Città della Pieve), in Madonna in glory with four saints (Duomo di Città della Pieve) and in the fresco of Antony the Great. These features of works produced in Città delle Pieve by Perugino and his studio are not found in the Monteleone d'Orvieto altarpiece, attributed to Ser Giacomo by Gnoli, but he argues that this is only because they were made illegible by repainting during its 1938 restoration. Fernando Cogna instead argues that the underdrawing was by Perugino and that the painting was by his pupil Ser Guglielmo de Castel della PieveFernando Corgna, Monteleone d'Orvieto: Storia del paese, delle Chiese e della vita sociale e religiosa, comune di Monteleone d'Orvieto, 2004.
|
|