plate no. 9071
Madonna Litta (Madonna and the Child)
Leonardo da Vinci, 1490
recreation guide
The Madonna Litta (c. 1490) is a High Renaissance work by Leonardo da Vinci, executed during his Milanese period. While the provided metadata lists the medium as canvas and tempera, Leonardo’s documented practice during this era involved a complex transition from traditional egg tempera to oil glazes, often applied over tempera underlayers to achieve greater luminosity and depth (Source 6). The artwork is characterized by the artist’s scientific approach to light and form, influenced by his training in Verrocchio’s workshop where he was exposed to the new techniques of oil painting and the study of light pioneered by contemporaries like Piero della Francesca (Source 6). The composition likely employs principles of chiaroscuro and color contrast to model the figures, consistent with Leonardo’s broader interest in the optical effects of juxtaposed tones (Source 4).
estimated time
40-60 hours over 8-12 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Egg yolk | Binder for the tempera underpainting, as tempera traditionally consists of pigments mixed with a water-soluble binder like egg yolk (Source 1). | Fresh egg yolk or commercial egg tempera sets |
| Linseed oil or walnut oil | For glazing and finishing layers. Leonardo applied oil paint to areas of mostly tempera work to enhance realism and light effects (Source 6). | Cold-pressed linseed oil |
| Gesso ground | Traditional preparation for tempera painting, providing a smooth, absorbent surface. | Acrylic gesso or rabbit-skin glue gesso |
| Natural earth pigments (ochres, umbers, siennas) | For underpainting and flesh tones, consistent with the limited palettes of the period and Leonardo’s earthy tonalities. | Yellow ochre, burnt umber, raw sienna |
| Canvas or Wood Panel | Support. The metadata specifies canvas, though Leonardo often used wood. If using canvas, it must be primed to mimic the absorbency of a gessoed panel for tempera. | Linen canvas |
preparation
surface prep
Prepare the support with a gesso ground. Tempera is a fast-drying medium that requires an absorbent surface to adhere properly (Source 1). Leonardo’s early training involved rigorous craftsmanship, including the preparation of surfaces, as he was exposed to a wide range of technical skills in Verrocchio’s workshop (Source 6). Ensure the surface is smooth and sealed to prevent the egg binder from soaking in too deeply, which can dull the colors.
underdrawing
Leonardo’s preparatory methods are not explicitly detailed in the provided sources for this specific work. However, given his background in drafting and his scientific approach to anatomy and light, a precise underdrawing in charcoal or dilute tempera is likely. He was trained in drafting and drawing as part of his apprenticeship (Source 6).
underpainting
Apply a monochromatic or limited-color underpainting using egg tempera. Tempera is permanent and fast-drying, allowing for rapid layering (Source 1). Leonardo’s collaboration on *The Baptism of Christ* shows he applied oil to areas of mostly tempera work, suggesting a hybrid technique where tempera establishes the form and oil enhances the luminosity (Source 6). Use this underpainting to establish the chiaroscuro (light-dark) relationships, as the juxtaposition of different tones produces a gradation of light (Source 4).
color palette
Flesh tones
Yellow ochre, white lead, and subtle reds, glazed with oil.
Modeling the faces and hands of the Madonna and Child. Leonardo’s use of oil on tempera allowed for softer transitions and realistic skin textures (Source 6).
Deep Blues/Greens
Ultramarine or azurite mixed with earth tones.
The Madonna’s drapery. Complementary colors create strong contrast; placing blue next to warm flesh tones enhances the visual impact (Source 2).
Neutral Grays/Browns
Burnt umber, black, and white.
Backgrounds and shadows. Darkening colors with black can shift hues, so using complements or earth tones is preferred for neutralizing without hue shift (Source 8).
composition
The sources do not describe the specific layout of the Madonna Litta. However, Leonardo’s work is characterized by a focus on great effects resulting from simple methods, such as the careful juxtaposition of tones to produce chiaroscuro (Source 4). The composition likely balances the figures using principles of color harmony, where the inherent colors of the flesh are fixed, but the draperies and background are chosen to harmonize with them (Source 4).
step by step
underdrawing→underpainting→refining→finishing→surfaceprep
underdrawing
step 02
Sketch the composition lightly. Focus on the anatomical accuracy of the figures, reflecting Leonardo’s training in drawing and modeling (Source 6).
Tip — Keep lines light as they will be covered by opaque tempera layers.
Drafting
underpainting
step 03
Apply egg tempera in thin, rapid strokes. Build up the forms using a limited palette. Tempera dries fast, allowing for immediate layering (Source 1).
Tip — Do not overwork the paint; tempera is unforgiving once dry.
Egg Tempera
refining
step 04
Introduce oil glazes over the tempera underpainting. Leonardo applied oil paint to areas of tempera work to achieve superior skill and realism, particularly in landscapes and figures (Source 6).
Tip — Use oil to soften the hard edges of the tempera and enhance luminosity.
Oil Glazing
finishing
step 05
Refine the chiaroscuro. Juxtapose tones to create a gradation of light, where the highest tone is enfeebled and the lowest heightened at the boundaries (Source 4).
Tip — Check color contrasts; complementary colors placed next to each other create strong contrast (Source 2).
Chiaroscuro
surfaceprep
step 01
Apply gesso to the canvas or panel and sand smooth. Tempera requires a rigid, absorbent ground.
Tip — Ensure the surface is not too glossy; tempera needs tooth to adhere.
Gesso preparation
critical techniques
Egg Tempera
Used as the primary medium for the underpainting. It is a permanent, fast-drying medium consisting of pigments mixed with egg yolk (Source 1).
Oil Glazing over Tempera
Leonardo applied oil paint to areas of mostly tempera work to enhance realism and light effects, as seen in his collaboration on *The Baptism of Christ* (Source 6).
Chiaroscuro
The juxtaposition of different tones produces a gradation of light, a principle Leonardo would have employed to model forms (Source 4).
common pitfalls
- →Adding black to darken colors can cause hue shifts (e.g., yellows shifting greenish). Use complementary colors to neutralize and darken without shifting hue (Source 8).
- →Overworking tempera. Tempera dries quickly and is difficult to blend once set. Work in small areas and build up layers (Source 1).
- →Ignoring color contrast. Placing complementary colors next to each other creates strong contrast, which can be used to enhance the visual impact of the figures (Source 2).
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 visual details of the Madonna Litta (e.g., exact clothing patterns, background elements) are not described in the sources.
- ·The exact ratio of tempera to oil in this specific painting is not detailed, though the hybrid technique is documented in his other works.
- ·The specific pigments used for the Madonna’s blue robe are not listed, though ultramarine or azurite are historically probable.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints — applied to Chiaroscuro and tone juxtaposition
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Tempera↗
- Tempera — part 1 — applied to Materials and underpainting technique
Wikipedia bio — Leonardo da Vinci↗
- Leonardo da Vinci — part 6 — applied to Hybrid tempera/oil technique and training background
Wikipedia: Complementary colors↗
- Complementary colors — part 1 — applied to Color contrast and harmony
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Mixing pigments and avoiding hue shifts
Read more about the corpus on the sources page and how the guides are built on the methods page.
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