Portrait of Fra Antionio Martelli

surface prep

Prepare a linen canvas with a traditional oil ground. Caravaggio’s works from this period were typically executed on canvas. The surface should be smooth to allow for the fine detail required in the facial features and the sharp transitions of light and shadow characteristic of his tenebrism. While specific ground recipes for this exact portrait are not detailed in the sources, the general practice of the time involved oil grounds to facilitate the glazing techniques described in Source 1.

underdrawing

Caravaggio is documented as insisting on painting from life without drawings (Source 3). Therefore, no detailed underdrawing should be used. The artist should likely sketch lightly with charcoal or thinned paint directly on the ground to establish proportions, but the primary structure should emerge through the painting process itself, avoiding the rigid lines of a preparatory sketch.

underpainting

Execute a grisaille (monochrome underpainting) using black, ultramarine, and white, mixed with oil of copavia or a similar medium (Source 1). This layer establishes the values and forms. The artist must mentally extract red and yellow colors, translating what would remain in nature if those colors were absent (Source 1). This step is crucial for the subsequent glazing process.

Tenebrism

A heightened chiaroscuro that creates high drama and emotional intensity. This is central to Caravaggio’s style and is evident in the stark contrast between light and dark areas.

Glazing and Scumbling

Used to color the monochrome underpainting. Glazing involves transparent coats of color, while scumbling involves semi-opaque layers. This technique allows for rich, luminous colors and subtle transitions.

Simultaneous Contrast

Understanding how adjacent colors affect each other’s appearance. This is crucial for achieving accurate color harmony and avoiding visual fatigue or inaccuracies in color perception.