Thank you, Karin, for your reply. I mentioned the David's unfinished portrait at the Art Institute in Chicago, because it's an example of the classical technique. He only did the underpainting because he had to go on exile during the political turmoil of the French Revolution. This underpainting is done with very thinned pigment, almost watery and in a very light value, because the values get darker with each application of glaze. What I don't understand is how they painted the flesh using the glaze technique.
I don't have a photo of the painting to scan it.
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Tito Champena
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