plate no. 5631

Anna Maria Jenkins and Thomas Jenkins

oilRococoportraitfigureslandscapetreesdogarchitectureportrait

recreation guide

This recreation guide addresses the painting of a Rococo-style oil portrait, specifically referencing the work of Angelica Kauffman. While the specific visual details of 'Anna Maria Jenkins and Thomas Jenkins' are not described in the provided sources, the guide relies on the documented general practices of oil painting during this period and the artist's era. The process emphasizes the traditional 'fat over lean' application rule to ensure structural integrity (Source 1, Source 3). It incorporates the use of a monochrome underpainting (grisaille) followed by glazing and scumbling to achieve the luminous, layered color effects characteristic of old master techniques (Source 2). The approach prioritizes the expression of character and moral quality over mere photographic likeness, consistent with the expectations of portrait painting in this tradition (Source 7).

estimated time

40-60 hours over 6-8 weeks (allowing for oxidation drying times between layers)

materials

7 items

steps

7 in sequence

materials

item	purpose	modern equivalent
Canvas or panel	Support for the painting	Linen canvas primed with gesso
Charcoal or thinned paint	Initial sketching of the subject onto the surface	Vine charcoal or raw umber thinned with solvent
Linseed oil	Medium to mix with paint, adjusting drying time and translucency	Refined linseed oil
Mineral spirits or turpentine	Solvent to thin paint for initial layers and clean brushes	Odorless mineral spirits (OMS) or Gamsol
Oil paints (Black, Ultramarine, White, Red, Yellow)	Primary pigments for grisaille and color glazing	Artist-grade oil paints
Oil of Copavia (or modern resinous medium)	Medium for first and second paintings to aid in drying and gloss	Liquin or similar alkyd/resin medium
Paintbrushes, palette knives, rags	Application, scraping, and blending of paint	Hog bristle and sable brushes, steel palette knives, lint-free cloths

preparation

surface prep

The surface should be prepared to accept oil paint. While specific priming methods for Kauffman are not detailed in the sources, traditional oil painting requires a stable ground. The artist should ensure the surface is ready for the initial sketching phase.

underdrawing

Begin by sketching the subject onto the canvas using charcoal or thinned paint (Source 1, Source 3). This initial drawing establishes the composition and likeness. In portrait painting, the goal is to capture the 'inner essence' or character of the subject, not just a literal likeness (Source 7). The drawing should focus on the eyes and eyebrows, as these convey the most reliable information about the subject's expression (Source 7).

underpainting

Create a monochrome underpainting, known as a grisaille. This involves painting the forms in shades of gray, mentally extracting red and yellow colors to establish value and structure (Source 2). This layer should be allowed to dry completely before proceeding. The use of a grisaille is a traditional method practiced by old masters to build up the painting systematically (Source 2).

color palette

Black

Bone black or ivory black

Grisaille underpainting and shadows

Ultramarine

Natural ultramarine

Grisaille underpainting and cool shadows

White

Lead white or titanium white

Grisaille highlights and mixing tints

Red and Yellow tones

Vermilion, red lake, yellow ochre, yellow lake

Glazing and scumbling over the dry grisaille to introduce color

composition

The composition should organize the visual elements—line, shape, color, texture, value, form, and space—to guide the viewer's eye (Source 6). In portrait painting, the arrangement often focuses on the head and shoulders or half-length to emphasize the subject's character (Source 7). The artist should aim for a representation that conveys moral quality and character, avoiding temporary or fleeting expressions (Source 7).

step by step

underdrawing→underpainting→refining→finishing

underdrawing

step 01
Sketch the subject onto the prepared canvas using charcoal or thinned paint.
Tip — Focus on capturing the likeness and character, particularly in the eyes and eyebrows.
Initial sketching

underpainting

step 02
Apply a grisaille (monochrome) layer using black, ultramarine, and white mixed with oil of copavia or a similar medium.
Tip — Mentally extract red and yellow colors, focusing on value and form.
Grisaille

refining

step 03
Allow the grisaille to dry completely. This may take several days to weeks depending on the thickness and environment.
Tip — Oil paint dries by oxidation, not evaporation; ensure it is dry to the touch before proceeding.
Drying by oxidation
step 04
Apply transparent glazes of red and yellow tones over the dry grisaille. Use a mixture of varnish and oil for mastery.
Tip — Glazing is a transparent coat of color that allows the underlying painting to show through.
Glazing
step 05
Use scumbling (semi-opaque painting) to adjust tones and create effects like a grey bloom over darker grounds.
Tip — Scumbling allows the underlying painting to make itself felt, adding texture and complexity.
Scumbling

finishing

step 06
Apply subsequent layers of paint ensuring each layer contains more oil than the one below ('fat over lean').
Tip — If each additional layer contains less oil, the final painting will crack and peel.
Fat over lean
step 07
Adjust translucency, sheen, and density using additional media like cold wax or resins if needed.
Tip — These media can help conceal or hold brushstrokes, affecting the expressive capacity of the paint.
Media adjustment

critical techniques

Fat over Lean

A basic rule of oil paint application where each additional layer contains more oil than the layer below to prevent cracking and peeling.

Glazing

Applying a transparent coat of color over a dry underpainting to build up luminosity and depth, similar to tinting an engraving.

Scumbling

Applying a semi-opaque layer of paint over a dry layer, allowing the underlying painting to show through, often used to create coldness or grey blooms.

Grisaille

A monochrome underpainting that establishes value and form before color is introduced, a method practiced by old masters.

common pitfalls

→Applying lean layers over fat layers, which can cause the painting to crack and peel (Source 1).
→Attempting to achieve photographic realism at the expense of the medium's vitality, resulting in a 'meretricious attempt to deceive the eye' rather than a fine picture (Source 5).
→Neglecting the drying time of oil paint, which dries by oxidation and can take up to two weeks to be dry to the touch (Source 1).
→Overlooking the importance of the eyes and eyebrows in conveying character, leading to a flat or unexpressive portrait (Source 7).

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·Specific visual details of 'Anna Maria Jenkins and Thomas Jenkins' such as clothing patterns, jewelry, and exact poses are not described in the sources.
·Angelica Kauffman's specific palette preferences beyond general Rococo conventions are not detailed in the provided passages.
·The exact dimensions and aspect ratio of the original artwork are not provided.
·Specific background elements or setting details are not described.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Grisaille underpainting, glazing, and scumbling techniques
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of using the medium's vitality rather than just deception

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to Underdrawing, fat over lean rule, drying times, and media adjustments
Wikipedia: Portrait painting↗
- Portrait painting — part 1 & 2 — applied to Goals of portraiture, character expression, and focus on eyes/eyebrows
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 1 — applied to General compositional elements and organization