Anne Bateman, later Mrs. John Gisbourne

surface prep

The canvas should be prepared with a ground suitable for oil painting. While the specific ground for Wright is not detailed, traditional practice involves sizing and priming to create a stable surface. The artist must ensure the surface is ready to accept the 'fat over lean' rule, where subsequent layers contain more oil than the previous ones to prevent cracking (Source 2).

underdrawing

Begin by sketching the subject onto the canvas using charcoal or thinned paint. This initial step establishes the general form and likeness. In portrait painting, it is common to sketch a rough likeness first, potentially focusing on the face before completing the rest of the composition (Source 2, Source 7).

underpainting

Create a grisaille (monochrome underpainting) using black, ultramarine, and white mixed with oil of copavia or a similar medium. This layer establishes the values and forms without color. The artist should mentally extract red and yellow tones, translating what would remain in nature if those colors were absent (Source 1). This step is crucial for the 'old master' technique of building color through transparency.

Glazing

Applying transparent coats of color over a dry underpainting to build depth and luminosity. This was a common practice among old masters, including Reynolds.

Scumbling

Applying semi-opaque paint over a dry layer to allow the underlying painting to show through, creating texture and subtle tonal variations.

Fat over Lean

Ensuring each successive layer of paint contains more oil than the previous one to prevent cracking and peeling.

Chiaroscuro

Using strong contrasts between light and dark to create volume and dramatic effect, consistent with the artist's style and color theory principles.