Early Italian renaissance painters portrayed rich color and luminous atmosphere by the use of oil glazes. Instead of mixing color on the pallette, pure colors were applied to the canvas in a sequence of separate, thin, transparent layers, producing a combined chromatic effect. In the 16th century, Titian introduced mixed, or 'broken,' colors. These colors also can be applied as glazes, with glowing results. Titian is said to have applied dozens of glazes to some of his paintings.

Glazing was a traditional part of the academic painting process for centuries. The technique was used extensively by master painters until the end of the nineteenth century, when French Impressionists employed the 'direct' painting method to immed-
iately capture the transitory effects of daylight. Although glazing is slower than direct painting, this Old-Master technique is unmatched for luminous color.

The example here is a detail from the Portrait Gallery. Over the grey/green verdaccio under-
painting, numerous flesh glazes were applied, with different glazing colors for shadow, half-tone, and lighter passages.

To observe the glazing sequence, click the image, then right click and select Play.