>>5756532Caravaggio: warm brown oil ground, somewhat dark. Draw figures. apply lights over the ground, at first not so thick, almost ghostly. gradually apply more opaque lights. keep mid tones from the dark ground. glaze the shadows umber warmed with a red earth or burnt sienna in a thickened oil. Mostly earth colors.
Michelangelo: (panel paintings) light cream imprimatura but it could be a yellowing of the white absorbent ground that was corrected by a glue or oil layer to reduce absorbency a little. sometimes verdaccio in a cool mix of terre verte but i believe sometimes a more cream under layer for background figures in doni tondo at least. the same verdaccio for the sky, darker above fading into the cream ground. apply lights like caravaggio but more gradually and thinly, of lead white mixed with vermilion, hatched finely. keep the green verdaccio first then finely go over with transluscent tones of similar value with more warmth. Not much dark glazes except maybe accents. Go over the outlines with a warm line. for red drapery, model vermilion or another bright red by drawing with the brush. Leave the ground color for the lights at first. keep the most saturation in the shadows. glaze the darkest areas with madder. model the tones by mixing white with red. Some greenish under paint is seen in the doni tondo darkest areas for red cloth unlike the scheme for manchester madonna. for blue, model first by hatching a lean black such as vine black over the light cream imprimatura. Model with ultramarine and white. glaze the shadows with ultramarine. not sure how the under painting hatches in egg tempera are smoothed.
For the entombment painting, no verdaccio detectable. it seems the light of the ground was left for the highlights, and then gone over with thin light. Shading with earthtones for skin over this light ground. somewhat like drawing, going over more where it is darker.
