plate no. 1576
Cornelia Africana
Angelica Kauffman, 1785
recreation guide
Cornelia Africana (1785) by Angelica Kauffman is a quintessential example of Neoclassical history painting, a genre Kauffman identified with as her primary artistic pursuit despite the gendered barriers of the 18th century (Source 5). The work depicts a narrative moment from Roman history, adhering to the academic definition of history painting which prioritizes human action and moral narrative over static portraiture or landscape (Source 3). Kauffman’s approach to such works was grounded in rigorous academic training, including the study of anatomy and composition through copying masters like Raphael and Guido Reni, allowing her to execute figures with the 'grace, elegance and accuracy' noted by contemporaries (Source 5). The painting likely employs traditional oil techniques common to the period, including the 'fat over lean' layering principle to ensure structural integrity and the use of glazing to achieve depth and translucency (Source 1, Source 2).
estimated time
40-60 hours over 8-12 weeks (allowing for drying times between layers)
materials
8 items
steps
7 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Primed linen canvas | Support for oil paint, consistent with 18th-century history painting standards | Pre-primed linen canvas |
| Charcoal or thinned paint | For initial sketching of the subject onto the canvas | Vine charcoal or raw umber thinned with solvent |
| Linseed oil | Medium to mix with pigments, ensuring proper drying and film formation | Refined linseed oil |
| Mineral spirits or turpentine | Solvent to thin paint for underpainting and cleaning brushes | Odorless mineral spirits (Gamsol) or pure gum turpentine |
| Oil paints (Ultramarine, White, Black, Red, Yellow) | Primary pigments for grisaille and glazing, as suggested by Reynolds' method cited in sources | Artist-grade oil paints |
| Oil of Copavia (historical) or Dammar varnish | Medium for glazing layers to adjust translucency and sheen | Dammar varnish or stand oil |
| Paintbrushes and palette knives | Application and scraping of paint layers | Hog bristle and sable brushes; steel palette knives |
| Rags | Removing wet paint or applying thin layers | Lint-free cotton rags |
preparation
surface prep
The canvas should be primed to create a stable ground. While specific priming recipes for Kauffman are not detailed in the sources, traditional oil painting of this period relied on a sound preparation to support the 'fat over lean' layering technique (Source 1). The surface must be dry and stable to prevent cracking.
underdrawing
Begin by sketching the subject onto the canvas using charcoal or thinned paint, a traditional starting point for oil painting (Source 1). Kauffman’s academic background suggests a precise underdrawing, informed by her practice of copying masters to master anatomy and composition (Source 5, Source 6).
underpainting
Apply a monochrome underpainting (grisaille) using black, ultramarine, and white, potentially mixed with oil of copavia as a medium, following the method attributed to Sir Joshua Reynolds which influenced the Royal Academy where Kauffman was a founding member (Source 2). This layer establishes the tonal values and forms before color is introduced.
color palette
Ultramarine
Pure ultramarine pigment
Part of the initial grisaille underpainting and cool shadows
White
Lead white (historical) or Titanium/Zinc white (modern)
Highlights and mixing in the grisaille underpainting
Black
Ivory black or lamp black
Shadows and defining forms in the underpainting
Red and Yellow tones
Vermilion, ochre, or cadmium variants
Glazing and scumbling layers to introduce warmth and flesh tones, as per the 'extracting red and yellow' method
Neutral Grays
Mix of black, white, and earth tones
General modeling and background elements
composition
As a history painting, the composition likely features multiple figures arranged to depict a specific narrative moment, consistent with the genre's focus on 'story painting' and human action (Source 3). Kauffman’s work is characterized by 'grace, elegance and accuracy' in figure placement (Source 5). Specific visual details of Cornelia Africana (e.g., exact gestures or background objects) are not described in the provided sources, so the composition should be approached based on general Neoclassical principles of clarity and narrative focus.
step by step
underdrawing→underpainting→first pass→drying→refining→finishing→varnishing
underdrawing
step 01
Sketch the figures and composition onto the primed canvas using charcoal or thinned paint.
Tip — Ensure proportions are accurate, reflecting Kauffman’s academic training in anatomy.
Initial sketching
underpainting
step 02
Apply a grisaille layer using black, ultramarine, and white mixed with oil of copavia or linseed oil.
Tip — Focus on tonal values rather than color. This layer should be 'lean' (less oil) to allow subsequent layers to dry properly.
Monochrome underpainting
first pass
step 04
Begin glazing and scumbling with oil paint. Apply transparent coats of color (glazing) and semi-opaque layers (scumbling) to introduce red and yellow tones.
Tip — Think of this as tinting an engraving. The underlying grisaille will show through, creating depth.
Glazing and Scumbling
drying
step 03
Allow the underpainting to dry completely. Oil paint dries by oxidation, typically within two weeks.
Tip — Do not rush this step; applying wet paint over wet paint can cause cracking if the 'fat over lean' rule is violated.
Oxidation drying
refining
step 05
Build up subsequent layers, ensuring each layer contains more oil than the one below ('fat over lean').
Tip — If a layer contains less oil, the painting may crack and peel. Use solvents to thin early layers and more oil in final layers.
Fat over lean
finishing
step 06
Adjust translucency, sheen, and density using resins or varnishes if needed. Use palette knives or rags to scrape or blend as necessary.
Tip — Oil paint remains wet longer than other media, allowing for changes to color and texture.
Surface adjustment
varnishing
step 07
Apply a final varnish to protect the painting and unify the sheen.
Tip — Ensure the painting is fully dry (oxidized) before varnishing.
Varnishing
critical techniques
Fat over Lean
A basic rule of oil painting where each additional layer contains more oil than the layer below to prevent cracking. Essential for the multi-layered approach used in history paintings.
Glazing and Scumbling
Glazing involves transparent coats of color; scumbling involves semi-opaque layers. Used to introduce color over a dry grisaille underpainting, mimicking the effect of tinting an engraving.
Monochrome Underpainting (Grisaille)
Establishing form and value in black, white, and ultramarine before adding color. This method was cited by Sir Joshua Reynolds and was common among old masters.
common pitfalls
- →Violating the 'fat over lean' rule, leading to cracking and peeling of the paint film (Source 1).
- →Applying glazes before the underpainting is fully dry, which can muddy the colors and disrupt the layering structure (Source 2).
- →Ignoring the narrative clarity required in history painting, resulting in a composition that fails to convey the 'story' or 'action' central to the genre (Source 3).
- →Over-modeling or being too timid with outlines, which can be corrected by studying copies of masters like Reynolds or Rubens (Source 6).
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 Cornelia Africana (e.g., exact clothing patterns, jewelry, facial expressions) are not described in the sources, so the recreation must rely on general Neoclassical conventions and the artist's known style rather than specific visual evidence from the text.
- ·Kauffman’s exact personal palette and mixing ratios are not provided; the guide relies on general 18th-century practices and Reynolds' cited methods.
- ·The specific priming recipe used by Kauffman is not detailed, so standard period-appropriate priming is assumed.
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
- ON COPYING — applied to Importance of copying masters for anatomical and compositional accuracy
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 use of solvents/mediums
Wikipedia: History painting↗
- History painting — part 1 — applied to Genre definition, narrative focus, and compositional expectations
Wikipedia bio — Angelica Kauffman↗
- Angelica Kauffman — part 4 — applied to Artist's identification as a history painter, academic training, and stylistic qualities
Read more about the corpus on the sources page and how the guides are built on the methods page.
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