Leopold, Duke of Brabant

surface prep

Prepare a standard oil-primed canvas. Winterhalter painted directly onto the canvas without making preliminary studies, suggesting a prepared surface ready for immediate application (Source 7). The ground should be neutral to allow for the transparency of glazes.

underdrawing

Winterhalter is thought to have painted directly onto the canvas without making preliminary studies or underdrawings, designing compositions directly in the paint (Source 7). Therefore, no distinct underdrawing phase is recommended; instead, begin with loose blocking in.

underpainting

While Winterhalter’s specific underpainting method is not explicitly detailed as a grisaille in the sources, the general practice of oil painting from this era often involved establishing tones before adding color. However, given his rapid and fluent style, he likely worked wet-on-wet or with thin initial layers rather than a strict monochrome underpainting. If a monochrome approach is chosen for study, it should be a grisaille using black, ultramarine, and white, as described by Sir Joshua Reynolds for similar period techniques (Source 1).

Glazing

Applying transparent coats of color over dry layers to achieve depth and richness. This was a common practice among old masters and is relevant to Winterhalter’s era (Source 1).

Direct Painting

Winterhalter painted directly onto the canvas without preliminary studies, allowing for rapid and fluent execution (Source 7).

Textural Virtuosity

Conveying the specific textures of fabrics, furs, and jewelry with high fidelity, a hallmark of Winterhalter’s appeal (Source 7).