DOI issue:
Nr. 4
DOI article:Wodzińska, Maria; Botticelli, Sandro [Ill.]: Technical analysis of a painting ascribed to Botticelli
DOI Page / Citation link: https://doi.org/10.11588/diglit.18864#0119
2. Botticelli, Virgin and Child.., detail; after the removal of retouchings the mastic is visible
lying partly on the surface of the original paint
At times, the same underlay colour was used in several adjacent elements of the composition.
Some passages were painted on top of finished fragments, e.g. the architecture and the flowers
were painted on the colour of the sky; this was used for the cooling down of the pink and the
grey; the angel's wings were painted transparently on the architecture. Mary's shawl was
painted after the completion of her figurę and its surroundings; the colours used there do not
show through the paint of the shawl and do not seem to play the intended role in the aes-
thetic effect of this area.
A good deal of binding medium was used and paint was applied with a broad brush, softly,
with a water-colour like effect. In the other places, more rarely, a homogeneous covering layer
was used, either as dry pastę with little binding medium, or in a covering manner, softly, with
distinct brush strokes. At times neighbouring tones were caused to mcrge in soft transitions,
without texture, in some other areas a thin brush was used to produce fine lines with a varying
105
lying partly on the surface of the original paint
At times, the same underlay colour was used in several adjacent elements of the composition.
Some passages were painted on top of finished fragments, e.g. the architecture and the flowers
were painted on the colour of the sky; this was used for the cooling down of the pink and the
grey; the angel's wings were painted transparently on the architecture. Mary's shawl was
painted after the completion of her figurę and its surroundings; the colours used there do not
show through the paint of the shawl and do not seem to play the intended role in the aes-
thetic effect of this area.
A good deal of binding medium was used and paint was applied with a broad brush, softly,
with a water-colour like effect. In the other places, more rarely, a homogeneous covering layer
was used, either as dry pastę with little binding medium, or in a covering manner, softly, with
distinct brush strokes. At times neighbouring tones were caused to mcrge in soft transitions,
without texture, in some other areas a thin brush was used to produce fine lines with a varying
105