Imprimatura is a thin toned layer applied to a painting support before painting begins. Learn its history from the Renaissance to Rubens and why it matters.
Walk into a room of Rubens oil sketches and you will notice something before you notice the figures. The background is not white. It is a streaky, warm gray-brown, thin enough that you can see the chalk ground beneath it. This is the imprimatura, and it is the reason Rubens's sketches look unified from the first brushstroke. The toned ground gives every color a common denominator. A red laid on white looks one way. The same red laid on a warm gray-brown looks completely different. The imprimatura is not a layer you see in the finished painting. It is a layer you feel.
Imprimatura is a thin, transparent, toned layer applied to a painting support after the ground and before the painting begins. The term comes from Italian and literally means "first paint layer." It provides the painter with a colored midtone that influences every subsequent color decision. Light falling onto the painting reflects through the paint layers and back through the imprimatura, giving the finished work a tonal unity that a white ground cannot produce.
This entry covers what imprimatura is, how it differs from a ground, its history from the Renaissance to the 17th century, and why it matters for understanding how paintings are made.
To understand imprimatura, you need to understand the layers beneath a painting. A painting on canvas or panel is built up in stages. First, the support (canvas, panel, or copper) is sized to protect it from the oil in the paint. Then a ground is applied: a layer of chalk or gesso mixed with animal glue that creates a smooth, absorbent surface for the paint. On top of the ground, some painters apply an imprimatura: a thin, pigmented, oil-based layer that tones the surface.
The imprimatura is not the same as the ground. The ground is opaque, thick, and functional. The imprimatura is thin, often transparent, and tonal. Its purpose is to give the painter a colored surface to work on, rather than a stark white one. White reflects all wavelengths equally, which can make colors applied on top appear cooler and less saturated. A toned ground absorbs some wavelengths and reflects others, creating a warm or cool bias that unifies the palette.
The imprimatura also serves a practical function in the early stages of painting. It helps the painter establish value relations from dark to light. On a white ground, every mark is dark. On a toned ground, the painter can work in both directions: adding darks for shadows and lights for highlights, with the imprimatura serving as the midtone. This is particularly useful in indirect painting, where the underpainting is built on top of the imprimatura and the final layers are applied as glazes.
The use of imprimatura evolved from the practice of applying isolation layers to grounds. In the earliest surviving examples of oil paintings on canvas from 15th-century Italy, non-pigmented isolation layers were applied over gesso grounds to seal them and prevent the oil in the paint from being absorbed into the chalk. These isolation layers were the precursors of the imprimatura. Over time, painters began adding pigment to the isolation layer, creating a toned surface that served both a functional and an aesthetic purpose.
A comprehensive study published in the journal Rad Hrvatske Akademije Znanosti i Umjetnosti traced the historical development of coloured grounds in Italian painting from the 15th to the mid-18th century. The research found that the earliest known coloured grounds in Italian painting were preparations of gesso with an addition of red pigment, appearing in the works of Venetian painters in the second half of the 15th century. Imprimaturas of bright or varying colours appeared in the late 15th century in the plain of the River Po. By the early 16th century, Correggio, Titian, and painters of the Brescia School introduced coloured preparations based on earth pigments for canvases. Read the full study at Hrcak.
The term "imprimatura" appears in the second edition of Giorgio Vasari's Lives of the Artists (1568), where he uses it to describe oil-bound second ground layers. Karel van Mander, in his 1604 Schilder-Boeck, used the Dutch term "primuersel" to describe a semitranslucent, pigmented, oil-based layer through which the underdrawing remained visible, making the painting look "half painted." A 2025 study published in the Journal of Historians of Netherlandish Art examined the terminology and practice of imprimatura in 17th-century Dutch sources, noting that different authors used the term in different ways. Some used it broadly for any oil-bound second ground layer. Others reserved it specifically for thin, semitranslucent layers. Read the study at JHNA.
There is one particular type of ground layer for which the term imprimatura is used with special specificity. This is the streaky, brownish gray layer used by Peter Paul Rubens (1577-1640) and some of his contemporaries on chalk-and-glue-prepared panels, particularly for oil sketches. This thin, semitransparent, streaky layer is so closely associated with the term imprimatura that describing it as a "streaky ground" would go against current convention.
Rubens used this imprimatura as more than just a toned surface. It was an active part of his painting process. He set up his compositions with thin brown paint directly on the streaky gray-brown imprimatura, using the ground tone as a midtone. Highlights were added in lighter paint, shadows in darker paint, and the imprimatura showed through in the midtone areas. This allowed Rubens to work with extraordinary speed, which is why his oil sketches have a fluency and unity that paintings built on white grounds rarely achieve. The unfinished Henry IV at the Battle of Ivry shows this process clearly: the main shapes are indicated in thin brown paint over the gray ground, with the imprimatura functioning as the midtone of the composition.
The 17th century saw a revolution in the use of colored grounds in the Netherlands. A 2025 study in the Journal of Historians of Netherlandish Art described this as a "hidden revolution" that was part of broader changes in Dutch painting between 1580 and 1620. The rise of the open market for paintings led to enormous growth in the number of artists and paintings, and painters experimented with new techniques to work more efficiently and cater to a taste for realism.
One popular type of canvas ground in 17th-century Netherlands consisted of two layers: a first reddish layer of ochre and other earth pigments, covered by a second gray layer based on lead white. This gray-over-red double ground acted as a form of imprimatura, with the gray layer serving as a midtone and the red layer showing through where the gray was thin. Rembrandt used this type of ground in many of his paintings. However, research has shown that lead saponification, a chemical reaction between lead white and the fatty acids in the oil binder, can cause the gray layer to become more transparent over time, making the red layer more visible than the painter intended. This means that the tonality we observe in some 17th-century paintings may not match what the painter saw. Read the study at JHNA.
Rubens is the artist most closely associated with the term imprimatura. His streaky, brownish-gray imprimatura on chalk-prepared panels is the defining example of the technique. His oil sketches at the Prado in Madrid and the National Gallery in London show the imprimatura functioning as both a toned surface and an active midtone in the composition.
Titian explored more strongly coloured grounds from the late 1520s onward. Historical sources describe Titian using water-based grounds over which he painted in oil, a practice that was said to make his colors more vivid and fresh because the water-based ground absorbed oil from the paint. A study of historical speculation about Titian's grounds, published by the Statens Museum for Kunst, traces how accounts of Titian's ground spread through European art literature from the 17th century onward. Read the study at SMK.
Rembrandt used gray-over-red double grounds on canvas that functioned as a form of imprimatura. The red first layer provided warmth, and the gray second layer provided a cool midtone. As the gray layer has become more transparent with age, the red has become more visible, potentially altering the tonal balance that Rembrandt intended.
Technical analysis of Caravaggio's paintings has revealed the use of dark, earth-toned grounds that functioned as imprimatura. A 2024 study from the American University of Rome analyzed the ground layers of Caravaggio's Judith and Holofernes, finding earth pigments consisting mostly of iron oxides with medium to low purification, including red ochre, yellow ochre, and green earth. These dark grounds served as the midtone in Caravaggio's tenebrist compositions, with the dark background areas of his paintings essentially being the exposed ground. Read more at AUR.
You cannot usually see the imprimatura directly in a finished painting, because it is covered by the paint layers. But you can infer its presence and color from the overall tonal harmony of the work. Paintings on white grounds tend to have a cooler, brighter overall tone. Paintings on toned grounds have a warmer, more unified quality, because the imprimatura provides a common denominator for all the colors above it.
In unfinished paintings and oil sketches, the imprimatura is directly visible. Rubens's oil sketches are the best examples. The streaky gray-brown surface that shows between his brushstrokes is the imprimatura, and you can see how it functions as both a toned surface and a midtone in the composition. The Prado in Madrid and the Courtauld Gallery in London have good collections of Rubens oil sketches.
In Caravaggio's paintings, the dark backgrounds are often the exposed ground or imprimatura rather than applied paint. If you look closely at the edges of his figures, you can sometimes see where the paint meets the ground, with no applied dark layer in the background at all. The ground is the darkness.
Imprimatura sits between the ground and the underpainting in the layer structure of a painting. It provides the toned surface on which the underpainting is built. It is related to glazing in that both are thin, transparent layers, but the imprimatura is applied before painting begins while glazes are applied during and after. The imprimatura is particularly important for indirect painting methods that rely on chiaroscuro and tenebrism, because the toned ground provides the midtone and dark areas of the composition. For more on the full layer structure of an oil painting, read our post on oil painting techniques.
The best place to see imprimatura at work is in Rubens's oil sketches. The Prado in Madrid has an extensive collection, as does the National Gallery in London. Look for the streaky, warm gray-brown surface between the figures. That is the imprimatura, and once you can see it, you will understand why it matters. For more on the materials and methods of painting, read our guide to reading a painting, or explore our entries on underpainting and glazing.
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