plate no. 4518

Auxiliary Fire Service Girl, City Fire Station

Ethel Léontine Gabain, 1940

oilNeo-Romanticismportraitportraitfigureuniformbrick wallcapfire service

recreation guide

Ethel Léontine Gabain’s 'Auxiliary Fire Service Girl, City Fire Station' (1940) is a portrait rooted in the Neo-Romantic tradition, created during her extensive commissions for the War Artists' Advisory Committee (WAAC) to document women’s contributions to the war effort (Source 6). The work likely emphasizes the dignity and resilience of the sitter, consistent with Gabain’s broader practice of recording women in traditionally male roles or essential wartime services (Source 6). As an oil painting from this period, it would benefit from techniques that allow for rich tonal gradation and color harmony, principles discussed in contemporary treatises on color contrast and oil painting practice.

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, Black, White, Red Ochre/Yellow Ochre)	For the initial grisaille underpainting and subsequent glazing/scumbling layers	Standard tube oil paints; use non-yellowing oil like safflower for whites if longevity is a concern (Source 7)
Linseed oil or Oil of Copavia	Medium for the first and second paintings, as historically recommended by Reynolds and cited in practice guides	Stand oil or pure linseed oil
Varnish	Mixed with oil for later glazing stages to increase transparency and flow	Dammar varnish or modern painting medium
Canvas or Panel	Support for the oil painting	Linen canvas primed with gesso
Charcoal or Graphite	For the initial underdrawing	Vine charcoal or soft graphite

preparation

surface prep

Prepare a neutral ground. While specific preparation for this exact canvas is not detailed in the sources, traditional oil painting practice often involves a white or light neutral ground to allow for the full range of tonal values. The sources emphasize the importance of a sound craft foundation (Source 4).

underdrawing

Create a precise underdrawing that captures the likeness and form. Gabain’s work as a portraitist implies a need for accuracy in likeness, which was a developing skill in portrait painting history (Source 5). The drawing should be 'highly finished' to acquire the habit of minute visual expression, allowing the artist to focus on bigger qualities later (Source 8).

underpainting

Execute a monochrome underpainting (grisaille) using black, ultramarine, and white, mixed with oil of copavia or linseed oil. This step establishes the tonal values and forms without the complexity of color. This method is supported by historical practice described by Sir Joshua Reynolds and general oil painting techniques (Source 3). The goal is to 'mentally extract the red and yellow colours' and translate what would be left in nature if these were not present (Source 3).

color palette

Black

Ivory Black or Lamp Black

Underpainting and shadows

Ultramarine

Ultramarine Blue

Underpainting and cool shadows

White

Titanium White or historically Lead White

Underpainting and highlights

Red/Yellow Tones

Red Ochre, Yellow Ochre, Vermilion

Glazing and scumbling layers to introduce flesh tones and uniform colors

composition

The composition likely focuses on the sitter’s face and upper body, typical of portrait genre conventions (Source 5). Gabain’s WAAC commissions often depicted subjects in their work environments, suggesting the background may include elements of the fire station, though specific details are not described in the sources. The artist’s approach to composition would aim to convey the 'emotional significance' of the subject, rather than just scientific accuracy (Source 8).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Draw the likeness of the Auxiliary Fire Service Girl with precision, focusing on the form and expression.
Tip — Ensure the drawing is highly finished to allow for instinctive handling of subtleties later (Source 8).
Academic Drawing

underpainting

step 02
Mix black, ultramarine, and white with oil of copavia or linseed oil. Paint the entire composition in monochrome, establishing all light and shadow values.
Tip — This is the 'first and second painting' stage, establishing the tonal foundation (Source 3).
Grisaille

first pass

step 03
Allow the grisaille to dry completely. Begin introducing color through glazing and scumbling, starting with the red and yellow tones inherent to the flesh and uniform.
Tip — Glazing is a transparent coat of color; scumbling is semi-opaque. Use these to 'tint an engraving with water-colours' (Source 3).
Glazing and Scumbling

refining

step 04
Apply subsequent layers of glaze and scumble, using varnish mixed with oil for increased transparency. Focus on harmonizing colors that are inherent to the model (flesh, eyes, hair) and those chosen for the background/uniform.
Tip — Be aware of simultaneous contrast: adjacent colors will affect each other’s appearance. The lightest tone will be lowered, and the darkest heightened (Source 2).
Layering

finishing

step 05
Refine the details, ensuring that the color contrasts produce the desired chiaroscuro effects. Check for any areas where the eye might be fatigued by unclear modifications.
Tip — The painter must appreciate the color peculiar to each part and the modifications received from contiguous colors (Source 2).
Color Contrast Adjustment

varnishing

step 06
Once the painting is fully dry, apply a final varnish to protect the surface and unify the gloss.
Tip — Ensure the painting is completely dry to avoid trapping solvents.
Varnishing

critical techniques

Glazing and Scumbling

Used to build up color layers over a monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque texture. This method was practiced by old masters and is recommended for achieving depth and harmony (Source 3).

Simultaneous Contrast

Understanding that adjacent colors affect each other’s perception. The artist must account for this when mixing and placing colors to achieve the intended tonal and chromatic effects (Source 2).

Monochrome Underpainting

Establishing the tonal structure of the painting before introducing color. This allows the artist to focus on form and light without the distraction of color (Source 3).

common pitfalls

→Ignoring the effects of simultaneous contrast, leading to colors that appear dull or incorrect when placed next to each other (Source 2).
→Applying glazes before the underpainting is completely dry, which can lead to muddiness or cracking (Source 3).
→Over-modeling or being too tied down to the outline, which can result in a stiff appearance. The artist should aim for 'broad masses' and avoid 'smallness' (Source 4).
→Failing to account for the eye’s tendency to see complementary colors after prolonged exposure to one color, leading to inaccurate color mixing (Source 2).

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 details of the sitter’s uniform, facial features, and the fire station background are not described in the sources, so the artist must rely on reference images or imagination for these elements.
·The exact palette used by Gabain for this specific painting is not documented, so the suggested palette is based on general oil painting practices and the techniques described in the sources.
·The specific compositional layout of the painting is not detailed, so the artist must infer the composition from the title and genre conventions.

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 Underpainting and glazing techniques
- ON COPYING — applied to General craft and technique advice
Laws of Contrast of Colour↗
- Simultaneous Contrast — applied to Color mixing and placement
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to Underdrawing and artistic accuracy