Underpainting: The Use of Complementary Colors in Renaissance Painting
The Renaissance period marked a significant evolution in the world of art, characterized by a renewed interest in classical philosophy, literature, and aesthetics.
Among the many techniques that emerged during this time, the use of underpainting of complementary colors played a crucial role in creating depth and vibrancy in artworks.
Underpainting, the practice of laying down a base layer of paint before applying the final colors, was a common technique among Gothic and Renaissance artists. This foundational layer allowed artists to establish values and tones, setting the stage for the more intricate details that would follow. The choice of colors used in the underpainting was often strategic, with many artists opting for complementary colors to enhance the overall composition.
Complementary colors, which are located opposite each other on the color wheel, create a striking contrast when placed side by side. Renaissance painters, such as Leonardo da Vinci and Titian, understood intuitively the power of these color relationships. (The color wheel is a “new” thing, they didn’t know this theory before the 1700s) For instance, using a warm underpainting of reds and oranges could make the cooler colors of blues and greens pop when applied on top. This technique not only added vibrancy to the final piece but also created a sense of harmony and balance within the artwork.
Artists would often use complementary colors to draw attention to specific elements within their paintings, guiding the viewer’s eye and enhancing the storytelling aspect of their work.
The use of underpainting and complementary colors during the Renaissance was a fundamental aspect of creating compelling and dynamic artworks. By understanding and applying these principles, modern artists can draw inspiration from the masters of the past, infusing their work with the same depth and vibrancy that defined this remarkable period in art history.
Underpaintings an example of complimentary colors
Look at the green shadow in this painting above. This is complimentary to the skin colors. This was achieved using a technique of underpainting the green first and then adding the skin tones. The green under the flesh makes an optical illusion that mingled with the subsequent overpainting is giving the skin a glow. The overpainting can not completely cover the underpainting some of the undercolour must show through.
In these pictures, you can see the flesh is a bit too green, because, over the years the overpainting pigment has faded so what we see is too much of the under paint thus revealing the secrets these old masters used to bring life to their subjects.
The colors of the underpainting are often a muddy/earth-like complementary color.
If you are painting green nature, then an earth red color would work as an underpaint.
Simone Martini and Lippo Memmi in the Uffizi Gallery, Florence. Painted around 1333
When I saw these old paintings in real life I was stunned. The technique they use is tempera and gold on a wooden panel. This technique is amazing. It shows how much they understood the importance of color and used it to the maximum. Look closely at the faces and you can see the green underpainting that brings the faces to life. We can assume that it has faded a bit, and it has not intensely been painted to show green as much, it reveals a technique I often use in my work. If you like this article, this post about colors may be of interest.
EXCERCISE: make a painting using mainly complimentary colors, or look for an artwork that uses principally complimentary colors. Make the painting abstract if you like, it is often the quickest, I always recommend you use a based shape like circles, triangles, and so on. Choose one main shape and a “complementary” shape ex 85: 15% or 90:10% circle- triangle.
Hints – wash your brush frequently and change the water if it gets too dirty.
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