Mrs. Andrew Lindington

surface prep

The canvas should be prepared with a ground suitable for oil painting. While specific priming details for this portrait are not in the sources, Wright’s era typically used oil grounds or gesso. The surface must be smooth enough to allow for the fine finish expected in portraiture, as Wright was a 'sound craftsman' who valued the knowledge of his medium (Source 2).

underdrawing

Sources do not explicitly describe Wright’s underdrawing method for this specific work. However, given the emphasis on 'broad masses' and avoiding 'smallness' in copying exercises (Source 2), the underdrawing likely focused on accurate proportions and major value masses rather than fine line work. It is likely executed in thinned oil or charcoal, consistent with 18th-century practice.

underpainting

The painting likely begins with a monochrome underpainting (grisaille). Sir Joshua Reynolds, a contemporary whose methods were influential, stated: 'The first and second paintings are with oil of copavia... the colours being black, ultramarine, and white' (Source 1). This monochrome stage establishes the form and lighting without the distraction of color, allowing the artist to 'mentally extract the red and yellow colours' (Source 1).

Glazing and Scumbling

Used by old masters, including likely Wright, to add color over a monochrome base. Glazing adds transparent color, while scumbling adds semi-opaque texture. This method allows for rich, luminous colors without muddying the underpainting (Source 1).

Monochrome Underpainting

Establishing form and value using only black, ultramarine, and white. This separates the structural work from the color work, allowing for greater control over likeness and lighting (Source 1).

Complementary Color Juxtaposition

Using complementary colors next to each other to enhance visual intensity. For example, red beside blue verges on orange, making it appear more orange (Source 3).