We are asked to look at oil sketches to see how the mid-tone works in a sculptural way and “anchors” the painting. Some good examples are:
Caravaggio - Two bearded prophets seated, holding open books (white body colour on grey paper)
I think the image above clearly shows the benefits of working from a mid-tone. The artist has purely used white to model the forms and fabric of the two figures in the work, and they do look as if they are appearing out of the tone rather than painted on top of it.
One oil sketch I was lucky enough to view in person was Rubens - The Apotheosis of James I and Other Studies: Multiple Sketch for the Banqueting House Ceiling, Whitehall (circa 1628-30) in the Tate Britain.
This is a fantastic painting – although it is, it seems churlish to call it a sketch! The background is very roughly covered with a mid-brown ground (brush marks are clearly visible), and the image is formed by a darker grey-brown and creamy white (not sure whether it was originally pure white?). The detail, especially in the perspective (obviously as it is meant for a ceiling – the figures appear to be floating upwards from our viewpoint) is very impressive, and it is very interesting to see his initial drawing marks under the paint.
Rubens oil sketches – extract from Courtauld Institute of Art -
When I was researching Ruben’s sketches, I came across the following website entitled - Drawn by the Brush – Oil sketches by Peter Paul Rubens. This website was to accompany an exhibition which was an in-depth look at his sketches:
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