Lady working on the terrace

surface prep

The artwork is on a panel, which historically involves a flat wood panel, either single or joined, prepared with gesso to cover the wood grain (Source 6). Banti, working in the late 19th century, likely used a traditional ground. The sources note that old masters often used a first coat to 'tone' the canvas and cover the white of the gesso (Source 2). Given Banti's study of Old Masters in London (Source 3), he may have employed a toned ground to facilitate the assessment of values and colors.

underdrawing

The sources do not explicitly describe Banti's underdrawing method for this specific work. However, general oil painting practice suggests that the first layer can be used to sketch out the composition (Source 2). Banti's dedication to capturing natural sunlight implies a careful observational approach, likely involving a preliminary sketch to establish the composition before applying paint.

underpainting

Banti may have employed an underpainting layer, possibly using turpentine-thinned paint or egg tempera, to establish tones and values (Source 2). This layer helps to 'tone' the support and allows for adjustments before proceeding to full color application (Source 2). The Macchiaioli focus on light effects suggests that the underpainting would have been crucial for establishing the luminous qualities of the scene.

Glazing

Applying transparent coats of color to enhance luminosity and depth, a method used by old masters and likely employed by Banti.

Scumbling

Applying semi-opaque paint over a darker ground to create coldness or grey blooms, useful for atmospheric effects.

Indirect painting

Building up the image in thin layers, allowing light to penetrate through the layers, creating a luminous effect.