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figures on walls. And work in fresco with it. This pigment is made from the loveliest and lightest sinopia that is found and is mixed and mulled with St. John's white, as it is called in
Florence; and this white is made from thoroughly white and thoroughly purified lime...this pigment does you great credit if you use it for painting faces, hands and nudes on walls..."
289:(c. 1370- c. 1440) described sinopia in his handbook on painting, "Il libro dell'arte", this way: "A natural pigment called sinoper, cinabrese or porphyry is red. This pigment has a lean and dry character. It responds well to milling, as the more it is pulverised the finer it becomes. It is good for working on panel or on anconas , or walls, in fresco and in secco."
297:
Cennino
Cennini described a light red colour he called cinabrese, which was apparently a mixture of a light shade of sinopia and lime white; "And I do not know", Cennini wrote, "that they use this pigment outside Florence. And it is absolutely perfect for doing flesh or for making flesh colours for
321:
To make the faces in the final fresco, Cennini recommended that the artist first paint them with an undercoat of brownish green, called a verdaccio. When that was dry, then he painted the flesh tones, made with ochre, lime white and a light red called cinabrese; then he painted the whites of the
313:
Cennino
Cennini described in detail the process by which a sinopia was made and used. First, the artist covered a wall with a rough layer of lime plaster. When it dried, he made his first sketch in charcoal, blocking in the figures and scenes. Then he brushed off the charcoal, and using a small,
322:
eyes and white highlights; then used black for the pupils of the eyes, the nostrils, openings in the ears and lines around the eyes, and then used a fine brush and sinopia to paint the lines under the eyes, around the nose, the eyebrows, the mouth and the shading under the upper lip.
314:
pointed brush and ochre pigments "as thin as water" and without tempera, he painted in the figures in light shades. Then he used sinopia, also without tempera, to mark out the noses, the eyes, the hair, and the accents and outlines of all the figures in their correct proportions.
310:. These drawings became known simply as sinopie, the plural word in Italian for the pigment. Many of these drawings have been discovered and restored, and are on display in the Museum of Sinopie (Museo delle Sinopie) in Pisa, next to the cathedral, baptistry and the leaning tower.
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When the underdrawing was finished, the artist then applied a new thin layer of wet plaster, covering just enough area as he could work in one day. Before the plaster could dry, he filled in the colours into the plaster, following the visible lines of the sinopia.
480:
EwaGlos. European
Illustrated Glossary Of Conservation Terms For Wall Paintings And Architectural Surfaces. English Definitions with translations into Bulgarian, Croatian, French, German, Hungarian, Italian, Polish, Romanian, Spanish and
476:
Weyer, Angela; Roig Picazo, Pilar; Pop, Daniel; Cassar, JoAnn; Özköse, Aysun; Jean-Marc, Vallet; Srša, Ivan (Ed.) (2015). Weyer, Angela; Roig Picazo, Pilar; Pop, Daniel; Cassar, JoAnn; Özköse, Aysun; Vallet, Jean-Marc; Srša, Ivan (eds.).
248:
During the Middle Ages sinopia in Latin and
Italian came to mean simply a red ochre. It entered the English language as the word sinoper, meaning a red earth colour.
245:. The word came to be used both for the pigment and for the preparatory drawing itself, which may be revealed when a fresco is stripped from its wall for transfer.
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In the
Renaissance "sinopia" or "sinoper" meant any of a range of different shades and hues, and the colour had a variety of names; it was sometimes called
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Sinopia was often used in the
Renaissance to make the preparatory drawing for frescoes directly onto the wall, on the levelling coat or on the
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Cennino d'Andrea
Cennini, The Craftsman's Handbook (Il Libro dell'Arte), (1933), translated by Daniel V. Thompson Jr., Dover Publications, (
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Daniel V. Thompson, The
Materials and Techniques of Medieval Painting, (1956)' Dover Publications, New York, p. 98
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A typical sample is shown for each name; a range of color-variations is commonly associated with each color-name.
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A typical sample is shown for each name; a range of color-variations is commonly associated with each color-name.
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Daniel V. Thompson, The
Materials and Techniques of Medieval Painting, (1956)' Dover Publications, New York (
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282:(red ochre). The colour shown in the box above is one more recent commercial variety of the colour.
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Lara Broecke, Cennino cennini, Il libro dell'arte, (2015), Archetype, London (
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Fabrizio F.V. Arrigoni: "Sinopie architettura ex artramentis". Lindlar 2011.
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The sinopia—in this case, meaning the underpainting—of a painting of the
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From Ancient times through the Renaissance, the pigment was mined in
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it was often used on the rough initial layer of plaster for the
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A sinopia showing a king, from the Museum of Sinopie in
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Sinopia is a colour in various modern colour systems.
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484:. Petersberg: Michael Imhof. p. 124.
302:Sinopia as preparatory drawing of frescoes
221:) is a dark reddish-brown natural earth
16:Dark reddish-brown natural earth pigment
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502:Lara Broecke, Cennino Cennini,
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445:Lara Broecke, Cennino Cennini,
285:The Italian painter and writer
39: Color coordinates
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193:Giovanni di Francesco Toscani
436:, note by translator, p xiv.
506:, Archetype 2015, pp. 101-2
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342:List of inorganic pigments
202:A sinopia for a fresco by
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434:The Craftsman's Handbook
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449:, Archetype 2015, p. 61
365:(Deutsch/Italienisch);
160:: Normalized to (byte)
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355:Die Neue Sachlichkeit
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278:(Sienna earth), or
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373:(English/Italian).
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333:
332:Underpainting
330:
329:
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75:(203, 65, 11)
73:
69:
65:
61:
57:
52:
48:
46:
42:
36:
30:
25:
20:
1756:Walnut brown
1686:
1519:Harvest gold
1509:Golden brown
1479:Earth yellow
1326:Burnt sienna
776:Imperial red
503:
498:
479:
471:
467:
459:
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446:
441:
433:
428:
419:
348:Bibliography
320:
316:
312:
305:
296:
284:
279:
275:
272:Venetian red
269:
258:
250:
247:
239:underdrawing
214:
210:
209:
157:
1662:Sandy brown
1430:Desert sand
1405:Cocoa Brown
1331:Burnt umber
1311:Brown sugar
1252:Black olive
1089:Salmon pink
909:Persian red
825:Light coral
702:Cornell red
583:Bittersweet
235:Renaissance
49:#CB410B
45:Hex triplet
1819:Categories
1741:Titian Red
1672:Seal brown
1499:Field drab
1247:Black bean
1114:Turkey red
1035:Rosy brown
1020:Rose taupe
1010:Rose ebony
934:Red (CMYK)
865:OU crimson
850:Misty rose
781:Indian red
756:Fire brick
692:Coral pink
687:Coquelicot
411:References
280:Ocra rosso
261:Cappadocia
1598:Red-brown
1593:Raw umber
1514:Goldenrod
1395:Chocolate
1351:Chamoisee
1119:Vermilion
1079:Rusty red
1025:Rose vale
951:Red (NCS)
929:Red-brown
830:Light red
667:Chili red
593:Blood red
1751:Van Dyke
1578:Mahogany
1420:Cordovan
1390:Chestnut
1321:Burgundy
1030:Rosewood
1015:Rose red
870:Penn red
860:Old rose
840:Mahogany
751:Falu red
746:Dark red
697:Cordovan
677:Cinnabar
618:Cardinal
603:Burgundy
578:Barn red
472:Sinopia.
326:See also
308:arriccio
227:hematite
1687:Sinopia
1603:Redwood
1563:Kobicha
1504:Fulvous
1346:Caramel
1094:Scarlet
995:Redwood
741:Crimson
657:Carmine
481:Turkish
223:pigment
215:sinoper
211:Sinopia
22:Sinopia
1796:
1793:
1790:
1787:
1784:
1781:
1778:
1775:
1772:
1720:
1717:
1714:
1711:
1708:
1705:
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1699:
1696:
1693:
1682:Sienna
1647:Russet
1642:Rufous
1636:
1633:
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1627:
1624:
1621:
1618:
1615:
1612:
1609:
1583:Maroon
1552:
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1537:
1534:
1531:
1528:
1525:
1489:Fallow
1468:
1465:
1462:
1459:
1456:
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1450:
1447:
1444:
1441:
1425:Coyote
1415:Copper
1410:Coffee
1400:Citron
1384:
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1360:
1357:
1300:
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1279:
1276:
1273:
1267:Bronze
1242:Bistre
1232:Beaver
1227:Almond
1222:Auburn
1157:
1154:
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1148:
1145:
1142:
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1133:
1130:
1109:Tomato
1084:Salmon
1073:
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1046:
989:
986:
983:
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968:
965:
962:
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845:Maroon
835:Madder
819:
816:
813:
810:
807:
804:
801:
798:
795:
792:
786:Jasper
771:Garnet
735:
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723:
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714:
711:
708:
682:Claret
662:Cerise
651:
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627:
624:
402:
391:
380:
369:
361:
274:, or
243:fresco
241:for a
138:Source
110:CIELCh
27:
1766:Wheat
1761:Wenge
1746:Umber
1736:Tawny
1731:Taupe
1677:Sepia
1588:Ochre
1573:Liver
1558:Khaki
1336:Camel
1306:Brown
1237:Beige
919:Poppy
766:Folly
265:Sinop
219:Sinop
177:Italy
1657:Sand
1652:Rust
1568:Lion
1494:Fawn
1484:Ecru
1316:Buff
1262:Bone
1257:Bole
1124:Wine
1040:Rust
1005:Rose
1000:Rojo
914:Pink
519:The
474:In:
400:ISBN
389:ISBN
378:ISBN
367:ISBN
359:ISBN
173:Pisa
56:sRGB
1726:Tan
1474:Dun
924:Red
486:doi
191:by
83:HSV
1821::
357:,
179:.
175:,
123:,
119:,
112:uv
93:,
89:,
66:,
62:,
1199:e
1192:t
1185:v
550:e
543:t
536:v
492:.
488::
406:)
395:)
384:)
158:B
127:)
125:h
121:C
117:L
115:(
97:)
95:v
91:s
87:h
85:(
70:)
68:b
64:g
60:r
58:(
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