Madonna and Child with Two Angels

surface prep

Prepare a rigid support (likely wood panel for this period, though canvas is acceptable for recreation). Apply a ground layer to create a smooth surface. The sources do not specify the exact ground for Botticelli, but traditional practice involves a gesso or chalk-based ground to receive the oil layers. Ensure the surface is sealed to prevent oil from rotting the wood.

underdrawing

Sketch the subject onto the prepared surface using charcoal or thinned paint (Source 1). Following the principles observed in Botticelli’s drawings, focus on 'artistic accuracy' rather than scientific precision; the drawing should convey the 'emotional significance' and vivid form of the figures, allowing the lines to be expressive and 'hot and underlined' if necessary to capture the feeling of the subject (Source 4).

underpainting

Create a monochrome underpainting (grisaille) using black, ultramarine, and white mixed with oil of copavia or a similar medium (Source 2). This layer establishes the light and shadow structure. The goal is to mentally extract red and yellow tones, focusing on the underlying form as if those colors were not present (Source 2). Allow this layer to dry completely before proceeding.

Fat over Lean

A fundamental rule where each successive layer of paint has a higher oil content than the one below it to prevent cracking and peeling (Source 1).

Glazing

Applying transparent coats of color over a dry underpainting to build depth and luminosity, similar to tinting an engraving (Source 2).

Scumbling

Applying semi-opaque paint over a darker ground to create a 'grey bloom' or coldness, allowing the underlying form to influence the final color (Source 2).

Artistic Accuracy in Drawing

Prioritizing the emotional significance and vivid representation of form over scientific precision, a trait noted in Botticelli’s academic drawings (Source 4).