The Virgin and Child with St. Anne

Sketch the composition lightly on the prepared panel using charcoal or chalk. Focus on accurate proportions and perspective, reflecting Leonardo’s scientific approach to drawing (Source 5).

Tip — Keep lines light; they will be covered by the underpainting.

Conté crayon or charcoal sketch

Apply a grisaille layer using black, white, and ultramarine (as noted by Reynolds, a contemporary of the old masters’ methods) to establish all values. This layer should be 'quite dry' before proceeding (Source 1).

Tip — Ensure the underpainting is fully dry to prevent mixing with subsequent glazes.

Grisaille

Begin glazing with transparent oil colors. Apply thin layers of red and yellow tones over the grisaille, 'much as you would tint an engraving with water-colours' (Source 1). Use linseed or poppy oil as a medium.

Tip — Work from dark to light; glazes are transparent and will darken the underlying tone.

Glazing

Use scumbling (semi-opaque painting) to soften transitions and create 'grey bloom' or atmospheric effects, particularly in shadows and distant areas (Source 1). This technique allows the underlying painting to 'make itself felt' (Source 1).

Tip — Scumbling over darker grounds tends to create coldness; use sparingly for atmospheric haze.

Scumbling

Apply final highlights with thicker, more opaque paint if necessary, but maintain the overall luminosity achieved through glazing. Ensure the 'vital expression of nature' is preserved through the medium’s qualities (Source 2).

Tip — Avoid over-working; the illusion of depth comes from the layers, not surface texture.

Impasto (minimal)

Once the painting is completely dry (which may take months), apply a varnish made of oil boiled with resin (e.g., frankincense) to protect the surface and unify the sheen (Source 3).

Tip — Ensure the painting is fully cured to prevent trapping solvents.

Varnishing