Old Livorno

surface prep

The surface should be prepared to accept oil paint, likely with a white or light-toned ground to facilitate the glazing process described in the sources. While specific preparation for Banti is not detailed, the general practice for this period involves a stable, absorbent ground that allows for the 'transparent coat of colour' (glazing) to adhere properly (Source 1).

underdrawing

A sound craftsman begins with a clear understanding of composition. The underdrawing should establish the 'broad masses' and correct proportions, avoiding the tendency to be 'too much tied down to your outline' (Source 3). The drawing should serve as a structural guide for the subsequent monochrome underpainting.

underpainting

Create a grisaille (monochrome underpainting) using black, ultramarine, and white mixed with oil of copavia (Source 1). This stage involves 'mentally extracting the red and yellow colours' to establish the underlying structure and values as if those colors were not present in nature (Source 1). This technique ensures the form is solid before color is applied.

Glazing

Applying a transparent coat of color over a dry underpainting to build depth and luminosity. This was a common practice among old masters and is essential for achieving the rich tones in realist oil paintings (Source 1).

Scumbling

Using semi-opaque paint over a darker ground to create coldness or atmospheric effects, such as a 'grey bloom'. This technique allows the underlying structure to influence the final color (Source 1).

Monochrome Underpainting

Establishing the composition in black, white, and ultramarine before adding color. This helps the artist focus on form and value without the distraction of hue (Source 1, Source 3).