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For a baroque-styled painting, what “underpainting” technique should be employed? {details}?

I am doing a very, very large painting (5 ft by 9 ft ) of Saint Cecilia, with a viol in her hands and various instruments around her feet. I already have my design, and colours chosen, but I am not sure how to start the painting. It is meant to be “baroque styled” and I am wondering how I should do the underpainting. Should it be grissaile, “Dead Layer” verdaccio, or some kind of imprimatura?
The following layers will begin with a thin layer of paint, then a slightly thicker layer… then glazes. So it will be a very ‘thin’ painting, and the underpainting will be very important.
Time is not an issue for me, and I am able to wait a month or two for each layer to dry (it will hopefully not take that long!)

Any advice would be appreciated.

Thankyou.

Because of the materials they used back in the Baroque period were not exactly the same as what we use today, an underpainting is not necessary. However, it is your discretion to do it in a genuine way of a Baroque painting or not. Please read on:

In principle, a finished underpainting should be agreeable to look at and, to some degree, it should already be a communicative statement. Obviously, it will lack the fullness, charm and depth that only color, fine detail and textured paint can convey.

Even though very few underpaintings from any age have survived there is strong evidence that Italian painters kept a stock of underpaintings in their studios which could be shown to potential clients. Presumably, they would be finished only when ordered by a client. So, an effective way of picturing how a finished underpainting should appear may be had by asking oneself the following question: would a client be tempted to purchase the finished painting that the underpainting suggests?

To begin with, it is best to restrict the pigments used in the underpainting stage to one or two neutral tones. Another fundamental principle is that underpainting is only effective on a colored ground. The tones used may range from light grays to warm, medium or dark browns.

The color of the underpainting should not visually exert itself; it should strike the observer as neutral in comparison to the fully-colored final work. An underpainting should be considered as an accompaniment of the colors that will be added in later stages. Although some modern realists favor burnt sienna for underpainting, it produces a fiery red hue which is hardly adapted for a neutral effect which an underpainting should possess. Raw umber is particularly useful for underpainting; it appears slightly greenish when compared to the more popular burnt umber and burnt sienna pigments. Raw umber is also a fast drier that produces a fairly tough paint film that can easily withstand successive overpainting within a very short time. Black (invariably tempered with white) was likewise commonly used for underpainting. However, it tends to produce an unpleasant effect if not handled with great finesse. Perhaps black should be avoided by anyone except an expert. As an admixture to raw umber, it is best con¬fined to those areas which require the maximum tonal depth.

All in all, raw umber by itself produces an agreeable neutral tone and has the added advantage of being a quick drier. Being semi-transparent by nature, delicate modeling can be attained even in the lightest areas of the painting with this common pigment. If the painter intends his final painting to be very light in tone, a bit of white may be mixed with the raw umber to diminish its transparency and warmth. Winsor & Newton or Rembrandt colormakers produce raw umber pigment that is adapted for underpainting. It is good to keep in mind that since raw umber is a natural earth and is extracted from different geographical locations, its exact tone and behavior varies greatly from brand to brand of store-bought paints. If very deep shadows are required or if the overall tone of the work is dark, raw umber can be deepened by adding small quantities of black.

Although underpainting is an intermediate passage that will be almost entirely covered by subsequent layers of paint, great care should be taken to apply underpaint as carefully as possible. It is difficult to describe with words the correct consistency and flow of underpaint. For the most part, the darker areas of the underpainting should be laid in with mezzapasta. Mezzapasta, which literally means half-paste in Italian, describes an application of paint that is neither too thin nor too thick. It does not correspond directly to body color being somewhat less substantial. Obviously, the lighter tones should be painted more transparently and the lightest tones will contain more medium in order to make them fully transparent. One should not attempt to create perfectly even paint surface stifling the canvas surface, some brushwork should be evident. Perhaps we can say that precise but lively brushwork would be optimum. Medium and light tones are not achieved by adding white to the raw umber pigment but rather by diluting it with some quick-drying medium or brushing it on very thinly. This creates an overall warm tone that is very agree¬able.
Theoretically, an underpainting should be lean, that is, paint should contain no more medium than needed to brush it out appropriately. Most commercially-prepared pigments can be brushed directly from the tube with stiff brushes but in order to increase control and fluidity, it is necessary to add some medium. One should take care to add only the smallest quantity of medium possible.

Bristle brushes (hog-hair) can be useful to fill large nondescript areas of the composition. However, these brushes, which are habitually used for secondary work by the fine painter, should be treated with the same care

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Slightly Baroque $7.98 After the platter full of instrumentals featured on And Now the Anita Kerr Orchestra (1966), the multi-talented first lady of the Nashville studio scene returned to scoring songs for and contributing to the Anita Kerr Singers. Although Slightly Baroque (1966) could have referred to her financial situation after the less than enthusiastic sales of And Now, instead it alludes to the style in which the dozen pop selections on the album are arranged. As noted music journalist Colin Escott mentions in his liner notes to the 2007 Collectors’ Choice Music CD reissue of Slightly Baroque, it had only been a year earlier that The Baroque Beatles Book (1965) was released, which took then-current hits from the Fab Four and turned them into classically tinged masterworks. Here, Kerr has primarily chosen more seasoned pop standards to give her unique “Baroque” treatment. But in reality, the somewhat pompous verbiage more or less speaks to harpsichord-laden breaks and minor chord changes for the vocalists. Speaking of which, the Anita Kerr Singers are: Kerr (soprano), who is joined by Gene Merlino (tenor), B.J. Baker (alto) and Bob Tebow (bass). Even pre-rock era material — most notably the opener “Mona Lisa” and “Answer Me My Love” — take on a fresh air of mod sophistication as Kerr and company weave their airtight harmonies around the familiar yet noticeably altered melody. “My Prayer” embodies a cryptically aching somber tone, even more so than either of its better-known predecessors from Glenn Miller or the Platters. The comparatively contemporary titles, such as Tom Jones’ “It’s Not Unusual” and the Tony Hatch-penned “My Love” — which Petula Clark turned into a Pop Singles chart topper — are suitably retro-fitted. Perhaps it was too soon to overhaul these current cuts as both teeter the fine line that could easily cross into the realm of insipid elevator music. However, that is not to suggest all the recent tunes fall short, as “Cast Your Fate to the Wind” is touching and poignant, while “One Note Samba” offers up the Anita Kerr Singers as the ’60s forerunner to the Manhattan Transfer. ~ Lindsay Planer, All Music GuidePerformers: B.J. Baker – Alto, Alto (Vocals); Anita Kerr – Soprano (Vocal); Gene Merlino – Tenor (Vocal); Bob Tebow – Bass (Vocal), Guitar (Bass)

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The Best of Baroque Music $8.99 While the pieces on The Best of Baroque Music have been trotted out countless times before, the Cologne Chamber Orchestra, led by Helmut Müller-Brühl, turns in refreshing performances that make this disc highly enjoyable. Its even tone and steady playing put this collection above most of the various artists compilations of the major labels, which, in comparison, seem thrown together without much thought toward consistency. Notable, too, is the avoidance of cliché. Obligatory pieces, such as Pachelbel’s Canon (regrettably, without the Gigue) and Handel’s Largo from Serse, are played fairly authentically and at a reasonable tempo, not like in the slushy romanticized arrangements that are better known. Similarly, the Air from Bach’s Orchestral Suite No. 3 is not sentimentalized beyond recognition. All the pieces benefit from the ensemble’s lean sound, which allows counterpoint to be heard in detail. Generous servings of the orchestral music of Bach, Handel, and Telemann give a good idea of their extremely varied output, much better than one or two token samplings ever could. And even the morose Adagio by Remo Giazotto — long passed off as a work by Albinoni — gets revamped in fine Baroque style with a faster tempo and a staccato continuo that make it sound interesting, for once. ~ Blair Sanderson, All Music GuidePerformers: Harald Hoeren – Harpsichord; Christine Pichlmeir – Violin; Daniel Rothert – Recorder; Stefan Schilli – Oboe; Lisa Stewart – Violin

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Little Suite in Baroque Style Sheet Music $2.95 Later Elementary Level. By William L. Gillock. This edition: 11447. Willis. 8 pages. Published by Willis Music.

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The Baroque Beatles Book $7.98 This record is one of the better executed attempts by “the squares” to understand the Beatles, and one of the best examples of “classical versions of popular music” — a genre that has no real reason to exist, but so be it. Joshua Rifkin, who would later repopularize Scott Joplin as a composer, “rediscovered and edited” these pieces, which set Lennon-McCartney melodies — nothing past 1965 — in the style of Handel, Bach, and Telemann. The liner notes and titles are groanworthy — “Epstein Variations, MBE 69a” and “Cantata for the Third Saturday After Shea Stadium, MBE 58,000″ — but because Rifkin is no hack, the music is accomplished. These are rhapsodies on themes, not simple symphonic transcriptions. The somber La Paix to which “Things We Said Today” is set reveals a melodic line not too far from an English melody such as “Greensleeves.” Thankfully short, the record makes its statement — a comical counterpart to the music theorists who wanted, at the outset of Beatlemania, to compare Lennon-McCartney to Bach and Mozart. ~ Ted Mills, All Music Guide

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