plate no. 4925

Count Nikolai Tolstoy with his wife Anna Ivanovna and their son Alexander

oilNeoclassicismportraitfiguresportraitlandscapetreesclothingfamily

recreation guide

This artwork is a Neoclassical oil portrait by Angelica Kauffman, a Swiss painter who was a founding member of the Royal Academy in London and known for her history paintings as well as portraiture (Source 7). The piece depicts Count Nikolai Tolstoy with his wife Anna Ivanovna and their son Alexander, fitting the genre of family portraiture which often involves multiple figures arranged to convey status and relationship (Source 2). Kauffman’s practice was influenced by her association with Sir Joshua Reynolds and the broader Neoclassical movement, which emphasized clear contours and realistic representation derived from classical ideals (Source 8). While specific visual details of this particular painting’s composition are not described in the provided sources, the work aligns with the period’s tradition of oil portraiture that values realistic perspective and careful modeling of figures (Source 3).

estimated time

40-60 hours over 8-12 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Red, Yellow)	Primary pigments for underpainting and glazing	Artist-grade oil paints
Linseed oil or Oil of Copavia	Medium for thinning paint and creating glazes	Stand oil or refined linseed oil
Mineral spirits or Turpentine	Solvent for cleaning brushes and thinning initial layers	Odorless mineral spirits
Canvas or Panel	Support surface	Linen canvas primed with gesso
Charcoal or Thinned Paint	Initial sketching of the composition	Vine charcoal or diluted oil paint
Varnish	Final protective layer and enhancing depth	Dammar or synthetic resin varnish

preparation

surface prep

The surface should be prepared with a ground suitable for oil painting. While Kauffman’s specific ground preparation is not detailed in the sources, traditional oil painting techniques of the period involved preparing a stable surface to accept the oil layers. The 'fat over lean' rule is critical here, meaning the initial layers must be leaner (more solvent) than subsequent layers to prevent cracking (Source 5).

underdrawing

Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint (Source 5). Given Kauffman’s training and the Neoclassical emphasis on draftsmanship, a precise underdrawing is likely essential to establish the correct proportions and poses of the three figures.

underpainting

A grisaille (monochrome underpainting) is recommended, following the method described in Source 1. This involves painting the forms in neutral tones, mentally extracting red and yellow colors to establish value and structure. Sir Joshua Reynolds, a close associate of Kauffman, used a method involving black, ultramarine, and white for his first and second paintings (Source 1). This monochrome base allows for subsequent glazing of color.

color palette

Ultramarine

Pure ultramarine pigment

Underpainting and cool shadows, consistent with Reynolds' method cited in Source 1

White

Lead white or modern titanium/zinc white

Highlights and mixing with ultramarine/black for grisaille (Source 1)

Black

Ivory black or lamp black

Shadows and defining contours in the underpainting (Source 1)

Red and Yellow tones

Vermilion, ochre, or cadmium variants

Glazing and scumbling over the dry grisaille to add warmth and flesh tones (Source 1)

Neutral Greys

Mix of black, white, and earth tones

Establishing the monochrome base before color application (Source 1)

composition

The sources do not describe the specific arrangement of Count Tolstoy, Anna Ivanovna, and Alexander. However, portrait paintings of families often consider the spatial relationship between individuals to convey hierarchy and intimacy (Source 2). Kauffman’s Neoclassical style likely employs balanced composition and clear contours, avoiding the excessive looseness of later Romantic styles. The figures are likely posed indoors, consistent with the period’s preference for interior settings that allow for controlled lighting and background detail (Source 2).

step by step

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

underdrawing

step 01
Sketch the figures of the Count, his wife, and son using charcoal or thinned paint to establish proportions and poses.
Tip — Ensure accurate anatomy and placement, as corrections are difficult later.
Initial Sketch

underpainting

step 02
Apply a grisaille layer using black, ultramarine, and white to model the forms in monochrome. Extract red and yellow tones mentally to focus on value.
Tip — Keep this layer lean (more solvent) to allow proper drying and adhesion of subsequent layers.
Grisaille

first pass

step 03
Allow the grisaille to dry completely. Begin glazing with transparent coats of red and yellow tones using oil as a medium.
Tip — Glazing adds depth and luminosity; apply thin, transparent layers.
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to adjust tones and add texture, particularly for lighter areas or highlights.
Tip — Scumbling over darker grounds can create a cold, grey bloom; use carefully for highlights.
Scumbling

finishing

step 05
Refine details and ensure the 'fat over lean' rule is maintained. Each layer should have more oil than the previous one.
Tip — Check for cracking risks by ensuring proper drying time between layers.
Layering

varnishing

step 06
Apply a final varnish to protect the painting and unify the surface sheen.
Tip — Wait until the painting is fully dry (weeks to months) before varnishing.
Varnishing

critical techniques

Glazing and Scumbling

Used by old masters and Reynolds to build color depth. Glazing involves transparent coats, while scumbling is semi-opaque. This method allows for rich, luminous colors without muddying the paint.

Fat over Lean

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

Monochrome Underpainting

Establishing form and value in neutral tones before applying color, a practice associated with Reynolds and traditional oil techniques.

common pitfalls

→Applying lean layers over fat layers, which can cause the paint to crack and peel (Source 5).
→Over-modeling or being too tied to the outline, which can make the painting look stiff. Copying works like Reynolds’ portraits can help check this tendency (Source 6).
→Using too much solvent in later layers, violating the 'fat over lean' principle.
→Applying glazes before the underpainting is completely dry, which can lift the underlying paint.

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 the Tolstoy portrait (clothing, expressions, background) are not described in the sources.
·Kauffman’s exact personal palette preferences for this specific work are not documented in the provided texts.
·The specific dimensions of the painting are not provided, which affects material quantity estimates.

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, glazing, and scumbling techniques
- ON COPYING — applied to Advice on avoiding over-modeling and stiffness

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 Materials, 'fat over lean' rule, and drying times
Wikipedia: Portrait painting↗
- Portrait painting — part 3 — applied to General portrait composition and genre context
Wikipedia bio — Angelica Kauffman↗
- Angelica Kauffman — part 1 — applied to Artist background and style context