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Red underpainting.  Direct technique with very few glazes.  Blended brushwork.

“Blind Hurdy-Gurdy Player”,  GEORGE de la TOUR

Red underpainting.  Grisaille with colour.  Glazes.  Blended brushwork (Caravaggio style).

“Portrait of a Woman Revealing her Breasts”, TINTORETTO

Red underpainting.  Grisaille with colour.  Glazes.   Highlights in the white and shadow areas to bring out the details.   Glazes.

“Penitent Magdalene”, GEORGE de la TOUR

Red underpainting.  Lights brought out in white with several  large areas in shadow. Chromatic range of somber earth colours (ochres,  siennas  and umber), with white and black. Well-blended brushwork and the chiaroscuro mimics the tenebristic style of Caravaggio, with well-defined planes of light and shadow.

“Three musicians”, JACOB  JORDAENS

White underpainting. Direct technique without glazing (caracteristic of Rubens of whom Jacob was a disciple and collaborator. Loose, rhythmic brushwork without blending.

“The triumph of Bacchus”, VELÁZQUEZ

Oil done in direct technique  and ‘au natural’ as Caravaggio did. Executed using black and white, and only earth colours. The visible blue in the sky is an optical blue as it is really painted with gray. Very few glazes to finish. Velazque´s last painting influenced by the tenebristic style of Caravaggio with a red underpainting.

“The Happy Violinist with a Glass of Wine”, GERRIT  van HONTHORST

Red underpainting. Grisaille with colour. Colour brought out with glazes. Brushwork blended in the Caravaggio style.

“The Milkmaid”, VERMEER

Light red underpainting with egg tempera.  Grisaille with colour. Colour brought out with glazes. The “puntillé” *  to finish some areas is characteristic of this painter.                                

*A  technique of using points  to finish (as opposed to pointillism which is used throughout a painting from start to finish).

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