plate no. 4805

Lady with an Ermine

oilHigh Renaissanceportraitportraitfigureanimaljewelryfabrichands

recreation guide

The Lady with an Ermine is a High Renaissance portrait by Leonardo da Vinci, painted in oils on a walnut wood panel around 1489–1491 (Source 2). It depicts Cecilia Gallerani, mistress of Ludovico Sforza, holding an animal that is traditionally identified as an ermine but appears to be an albino ferret, serving as a symbolic composite rather than a strictly naturalistic study (Source 1). The work is notable for its psychological depth and the integration of symbolic elements, such as the ermine representing purity, moderation, and potentially the sitter’s surname or pregnancy (Source 1). As one of only four surviving female portraits by Leonardo, it exemplifies his mastery of oil painting techniques during his tenure at the Sforza court in Milan (Source 2).

estimated time

40-60 hours over 8-12 sessions

materials

7 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Walnut wood panel	Primary support surface, consistent with the original artwork's medium	—
Oil paints (pigments mixed with drying oil)	Primary medium for color application	High-quality tube oil paints mixed with linseed or walnut oil
Linseed oil or Walnut oil	Drying oil medium for mixing pigments and glazing	Refined linseed oil or walnut oil
Lead white (historical) or Titanium/Zinc White (modern)	Opacity and highlights; historically dominant white pigment	Titanium white for opacity, Zinc white for transparency
Ultramarine	Deep blue tones, historically used in early stages by old masters	Natural or synthetic ultramarine blue
Black pigment	Shadows and underpainting	Ivory black or Mars black
Varnish	Final protective layer and depth enhancement	Dammar or synthetic resin varnish

preparation

surface prep

Prepare a walnut wood panel, as the original was painted on walnut wood (Source 2). The surface should be sized and gessoed to create a smooth, non-absorbent ground suitable for fine oil painting. While specific gesso recipes for Leonardo are not detailed in the sources, standard Renaissance practice involved a chalk and glue ground. Ensure the surface is dry and smooth before beginning.

underdrawing

Leonardo’s preparatory methods are not explicitly detailed in the provided sources for this specific work. However, as a master of the High Renaissance, he likely employed a precise underdrawing to establish the composition and anatomical accuracy. Use a thin wash of umber or charcoal to sketch the figure, focusing on the dynamic pose and the interaction between the sitter and the animal. Do not overwork the drawing; it should serve as a guide for the underpainting.

underpainting

Employ a grisaille (monochrome underpainting) technique. According to historical practices of old masters, the first stages often involved black, ultramarine, and white to establish values and forms (Source 4). This monochrome layer should be allowed to dry completely before applying color glazes. This method allows for the mental extraction of red and yellow tones initially, focusing on structure and light (Source 4).

color palette

White

Lead white (historical) or Titanium white

Highlights, the ermine’s coat, and facial features

Black

Carbon black or umber

Shadows, hair, and underpainting

Ultramarine

Ultramarine blue

Deep shadows and underpainting, as noted in Reynolds’ method for old masters (Source 4)

Red/Yellow tones

Vermilion, ochre, or red lake

Glazing and scumbling to add warmth and flesh tones, applied over the dry grisaille (Source 4)

Green/Brown

Verdigris, terre verte, or umber

Background and clothing details, consistent with Renaissance palettes

composition

The composition features a three-quarter view of the sitter, a common Renaissance portrait convention that adds dynamism compared to strict profile views. The ermine is held in the sitter’s arms, creating a diagonal line that draws the eye across the canvas. The background is dark and indistinct, focusing attention on the figure and the symbolic animal. The composition balances the human subject with the animal, emphasizing their interaction. Note that the ermine is described as a 'mythical beast' and symbolic composite rather than a strict naturalistic study (Source 1).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the composition on the prepared walnut panel using a thin wash or charcoal. Focus on the proportions of the figure and the animal.
Tip — Ensure the pose captures the dynamic tension typical of Leonardo’s work.
Underdrawing

underpainting

step 02
Apply a grisaille layer using black, ultramarine, and white to establish values and forms. This monochrome base should be allowed to dry completely.
Tip — Mentally extract red and yellow tones, focusing on structure and light (Source 4).
Grisaille

first pass

step 03
Begin glazing and scumbling with oil. Apply transparent coats of color (glazing) and semi-opaque layers (scumbling) to introduce red and yellow tones.
Tip — Glazing adds depth and luminosity, while scumbling can create coldness or grey blooms over darker grounds (Source 4).
Glazing and Scumbling

refining

step 04
Refine the details of the face, hands, and the ermine. Use fine brushes to capture the texture of the fur and the softness of the skin.
Tip — Remember that the ermine is a symbolic composite, not strictly naturalistic (Source 1).
Detailing

finishing

step 05
Apply final glazes to enhance the luminosity and depth of the colors. Ensure the transitions between light and shadow are smooth.
Tip — Old masters often used multiple layers of paint to achieve glowing, rich colors (Source 6).
Glazing

varnishing

step 06
Once the painting is completely dry, apply a varnish to protect the surface and unify the appearance.
Tip — Use a varnish mixed with oil if following historical methods, or a modern resin varnish for stability.
Varnishing

critical techniques

Glazing

Applying transparent coats of color over a dry underpainting to build depth and luminosity. This was a common practice among old masters (Source 4).

Scumbling

Applying semi-opaque paint over a darker ground to create coldness or grey blooms, adding texture and complexity to the surface (Source 4).

Grisaille

Creating a monochrome underpainting using black, ultramarine, and white to establish values before applying color (Source 4).

Symbolic Representation

Depicting the ermine as a mythical beast and symbolic composite rather than a strict naturalistic study, reflecting Leonardo’s artistic intent (Source 1).

common pitfalls

→Overworking the underdrawing, which can muddy the final image.
→Applying color glazes before the underpainting is completely dry, leading to cracking or mixing issues (Source 4).
→Focusing too much on strict naturalism for the ermine, ignoring its symbolic and composite nature (Source 1).
→Using too much medium in the glazes, which can lead to excessive drying times or instability.
→Neglecting the psychological depth of the sitter, which is a hallmark of Leonardo’s portraiture.

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·Specific pigment recipes used by Leonardo for this painting are not detailed in the sources.
·The exact sequence of glazing and scumbling layers for this specific work is not documented.
·Details about the background and clothing patterns are not explicitly described in the sources, so general Renaissance conventions must be inferred.
·Leonardo’s specific underdrawing materials and methods for this portrait are not explicitly stated.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Grisaille, glazing, and scumbling techniques

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia: Lady with an Ermine↗
- part 4 — applied to Symbolism of the ermine and its depiction as a mythical beast
- part 1 — applied to Medium (oil on walnut wood) and dating
Wikipedia: Oil painting↗
- part 4 — applied to Materials and drying oils
Wikipedia: Italian Renaissance painting↗
- part 21 — applied to Layering techniques for rich colors