Terra verde

Anthony D. Ayers <raphaelmad<-a t->aol< . >com> writes

>I have been attempting to determine a terminus date for the usage of
>terra verde in flesh tones of paintings, yet have been unable to
>find any supporting documentation.  It appears that its use
>continued for a period after the changeover from tempera to oil
>bases, but for how long is the question?  It would appear that a
>substantial decline, near terminus, occurs during the first decade
>of the sixteenth century.

According to Carol Grissom's chapter on "Green Earth" ("Artists'
Pigments: A Handbook of their History and Characteristics," volume
1, 1986) terra verde was the most well-known for the underpainting
of flesh tones in medieval works, recording its usage in texts as
early as the eleventh century.  She goes on to say that as oil
painting became fashionable during the High Renaissance, mention of
terra verde for use in easel painting had pretty much ceased.  Then,
a paragraph later, after mentioning its lack of usage in England,
she says that terra verde was used extensively in the seventeenth
century on the continent of Europe.  Terra verde is mentioned
frequently in painters' manuals from the seventeenth to the
nineteenth centuries.  She does not give a terminal date, as it is
still being prepared and used, though infrequent on the modern
painters palette. Another note of interest that is mentioned: In an
unfinished painting attributed to Michelangelo at the National
Gallery, London, ("Madonna and Child with St. John and Angels")
there is a little green earth showing through some of the unfinished
painted flesh.  The work is dated 16th century.  All other works
that she mentions after that date that contain terra verde seem to
occur in the Netherlands, including that lovely little painting "the
Concert" by Vermeer that is now (*sniff*) missing from the Isabella
Stewart Gardner Museum in Boston.

So, your mention of the hiatus of terra verde application during the
16th C seems to be right on the money according to Grissom, but
because of the sudden "rebirth" of terra verde during the 17th C, it
makes it especially difficult to date, though perhaps the occurrence
in the Michelangelo (attr.) may help a little.  Also, would panel as
opposed to easel make a difference to its usage?

Hopefully, this was helpful in some way, shape or form. Or at the
very least interesting. Best of luck to you with your research,

Tara Kennedy
Trinity College Library
Hartford, CT 06106

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