plate no. 1530

Captain Robert Calder

oilRococoportraitportraitfigureclothingmilitaryhistoricalmale

recreation guide

This recreation guide addresses Lemuel Francis Abbott’s 1790 portrait of Captain Robert Calder. Abbott was an English painter specializing in portraits of naval officers and literary figures, known for his ability to capture likeness and character, as evidenced by the acclaim his portrait of Horatio Nelson received (Source 5). While the specific visual details of the Calder portrait (such as uniform specifics or background elements) are not described in the provided sources, the guide relies on the documented practices of late 18th-century oil portraiture and the general techniques associated with the Rococo style and Abbott’s contemporaries. The process emphasizes the 'old master' methods of glazing and scumbling, which were prevalent among artists of this period, including Sir Joshua Reynolds, who influenced the era's aesthetic (Source 1). The goal is to achieve a representation that conveys the 'inner significance' and character of the sitter, rather than merely a literal likeness, consistent with the portrait genre's historical aims (Source 4).

estimated time

40-60 hours over 8-12 sessions (allowing for drying times between glaze layers)

materials

7 items

steps

7 in sequence

materials

item	purpose	modern equivalent
Oil of Copavia (or modern damar/resin substitute)	Medium for the first and second paintings, as cited in Reynolds' method which influenced the period.	Damar varnish or a high-quality resin-based medium
Linseed Oil	Standard binder for oil paint, used in later glazing stages.	Refined linseed oil
Ultramarine	Primary blue pigment for the grisaille/underpainting stage.	Natural or synthetic ultramarine
Black (Ivory or Lamp Black)	Primary dark pigment for the grisaille/underpainting stage.	Ivory black
White (Lead White or Titanium White)	Primary light pigment for the grisaille/underpainting stage.	Titanium white (for safety) or Flake White (for historical accuracy)
Red and Yellow Earths/Ochres	For glazing and scumbling to introduce color tones, as per the 'extraction' method.	Venetian Red, Yellow Ochre, Raw Sienna
Canvas or Panel	Support for the painting.	Linen canvas primed with gesso

preparation

surface prep

Prepare a rigid support (panel or stretched canvas) with a smooth ground. While Abbott’s specific ground preparation is not detailed in the sources, the 'old master' technique described involves a dry grisaille base, implying a stable, non-absorbent surface that allows for glazing (Source 1). Ensure the surface is sealed to prevent oil starvation.

underdrawing

Sketch the subject using charcoal or thinned paint. Traditional oil painting techniques often begin with this step to establish proportions and composition (Source 8). Given the portrait genre's focus on likeness, accurate initial drawing is critical (Source 3).

underpainting

Execute a monochrome underpainting (grisaille) using black, ultramarine, and white mixed with oil of copavia. This step involves 'mentally extracting' red and yellow colors to establish the tonal structure of the portrait (Source 1). This aligns with the method attributed to Sir Joshua Reynolds, a contemporary influence on Abbott’s era (Source 1).

color palette

Ultramarine

Pure ultramarine

Underpainting/Grayscale tones

Black

Ivory black

Underpainting/Shadows

White

Lead/Titanium white

Underpainting/Highlights

Red Tones

Vermilion or Red Ochre

Glazing/Scumbling flesh tones and uniform details

Yellow Tones

Yellow Ochre or Raw Sienna

Glazing/Scumbling flesh tones and highlights

composition

The composition likely follows standard portrait conventions of the period, focusing on the head and shoulders or half-length view to emphasize the sitter's character and status (Source 4). The expression should aim for a 'serious, closed lip stare' or subtle emotion, as was common in 18th-century portraiture to convey moral quality rather than fleeting emotion (Source 4). Specific compositional details of the Calder portrait are not in the sources, so rely on general period norms.

step by step

underdrawing→underpainting→first pass→drying→refining→finishing

underdrawing

step 01
Sketch the likeness of Captain Robert Calder onto the prepared surface using charcoal or thinned paint.
Tip — Ensure accurate proportions, as the portrait aims for a recognizable likeness (Source 3).
Traditional underdrawing

underpainting

step 02
Mix black, ultramarine, and white with oil of copavia. Paint the entire composition in monochrome (grisaille), establishing light and shadow without red or yellow hues.
Tip — Mentally extract red and yellow colors, focusing on the tonal structure that would remain if those colors were absent (Source 1).
Grisaille underpainting

first pass

step 04
Begin glazing and scumbling with oil. Apply transparent coats of red and yellow tones over the grisaille to introduce color.
Tip — Glazing is a transparent coat of color; use it to tint the engraving-like underpainting (Source 1).
Glazing

drying

step 03
Allow the grisaille layer to dry completely. This may take several days to weeks depending on thickness and environment.
Tip — Do not proceed to glazing until the underpainting is fully dry to prevent cracking or mixing issues (Source 8).
Oxidation drying

refining

step 05
Use scumbling (semi-opaque painting) to adjust tones, particularly over darker grounds to create coldness or grey blooms if needed.
Tip — Scumbling allows the underlying painting to show through, adding depth and texture (Source 1).
Scumbling

finishing

step 06
As mastery is gained, mix varnish with oil for subsequent glaze layers to enhance luminosity and depth.
Tip — This method was practiced by old masters and helps achieve the rich color effects seen in Rococo portraiture (Source 1).
Varnish glazing
step 07
Refine facial features, particularly the eyes and eyebrows, to convey the sitter's character and inner significance.
Tip — The eyes provide the most reliable information about the subject; use subtle variations in eyebrows to express emotion (Source 4).
Character portrayal

critical techniques

Glazing and Scumbling

Used to build color over a monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque texture. This was a common practice among old masters and Reynolds (Source 1).

Fat over Lean

Ensure each additional layer of paint contains more oil than the layer below to prevent cracking. The initial grisaille uses copavia (leaner), while later glazes may use more oil/varnish (fatter) (Source 8).

Character Representation

Focus on the eyes and eyebrows to convey the sitter's moral quality and character, rather than just physical likeness (Source 4).

common pitfalls

→Applying glazes before the underpainting is completely dry, leading to cracking or muddiness (Source 8).
→Ignoring the 'fat over lean' rule, which can cause the paint film to peel (Source 8).
→Over-modeling or becoming too tied to the outline, which can result in a stiff, unnatural appearance. Copying works like Reynolds’ portraits can help correct this (Source 2).
→Failing to convey the sitter's character through the eyes and expression, resulting in a mere literal likeness rather than a true portrait (Source 4).

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 Captain Robert Calder’s appearance (uniform, pose, background) are not described in the sources.
·Abbott’s exact personal palette preferences are not detailed, though Reynolds’ method is cited as influential.
·The specific dimensions and aspect ratio of the original painting are not provided.
·Details about the sitter’s expression or specific gestures are missing.

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 Advice on correcting compositional weaknesses

cross-referenced from

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

Wikipedia: Portrait painting↗
- Portrait painting — part 1 — applied to Importance of likeness and genre context
- Portrait painting — part 2 — applied to Character representation and facial expression
Wikipedia bio — Lemuel Francis Abbott↗
- part 1 — applied to Artist background and reputation
Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to General oil painting techniques and drying