Martha and Mary Magdalene

surface prep

Prepare a linen canvas with a traditional oil ground. Caravaggio worked directly on canvas, an unusual approach at the time, suggesting a robust preparation to withstand rapid application (Source 7). The surface should be smooth enough to allow for the sharp contrasts of light and shadow but textured enough to hold the impasto of highlights.

underdrawing

Caravaggio likely forwent detailed preparatory drawings, preferring to work directly onto the canvas. He would score basic guides directly onto the canvas with the end of the brush handle to establish composition and proportions before applying paint (Source 7). Do not create a detailed charcoal sketch; instead, lightly mark key anatomical points and horizon lines.

underpainting

While specific underpainting methods for this exact work are not detailed in the sources, Caravaggio’s contemporaries and the general practice of the period often involved a monochrome underpainting (grisaille) to establish values before glazing color (Source 8). A neutral gray or brown underpainting can help manage the complex chiaroscuro effects. Alternatively, given his speed, he may have applied color directly, but a value study is recommended for modern recreation to ensure the dramatic lighting is correct from the start.

Tenebrism

A dramatic use of chiaroscuro where subjects are transfixingly illuminated against darkened shadows, creating a sense of drama and focus (Source 2).

Direct Painting from Life

Working rapidly with live models, forgoing detailed drawings, to capture realistic physical and emotional states (Source 2, Source 7).

Complementary Color Juxtaposition

Using complementary colors (e.g., red and blue) to enhance the intensity and brilliance of hues (Source 4).

Glazing and Scumbling

Applying transparent and semi-opaque layers of color to refine tones and create depth, a technique used by old masters (Source 8).