plate no. 1290
George Bernard Shaw
Laura Knight, 1942
recreation guide
This artwork is a 1942 oil portrait of George Bernard Shaw by Dame Laura Knight, a prominent English artist known for her work in the figurative, realist tradition who embraced English Impressionism (Source 8). As a portrait, the work intends to represent a specific human subject, aiming for a likeness that is recognizable and ideally serves as a good record of the sitter's appearance (Source 3). The painting likely seeks to capture the 'inner essence' or character of Shaw rather than just a literal likeness, consistent with the goal of great portraiture to express moral quality and character (Source 4). Knight’s practice involved working in oils, and her success in the British art establishment suggests a mastery of traditional oil painting techniques, including the layering and handling of the medium to achieve expressive capacity (Source 1, Source 8).
estimated time
20-30 hours over 5-7 sessions
materials
7 items
steps
7 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (artist grade) | Primary medium for the portrait | — |
| Linseed oil | Medium to thin paint and adjust drying time; essential for 'fat over lean' layering | — |
| Mineral spirits or turpentine | Solvent to thin paint for initial layers and clean brushes | — |
| Canvas | Support surface for the oil painting | — |
| Charcoal or thinned paint | For sketching the subject onto the canvas | — |
| Paintbrushes | Traditional tool for transferring paint to the surface | — |
| Palette knives and rags | Alternative application tools and for scraping/removing wet paint if necessary | — |
preparation
surface prep
The canvas should be prepared according to traditional oil painting standards. While specific priming details for this exact work are not in the sources, traditional practice involves a stable ground to support the oil layers. The artist likely used a standard primed canvas suitable for oil application, ensuring the surface could hold the layers without cracking (Source 1).
underdrawing
Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint (Source 1). For a portrait aiming for a recognizable likeness, this underdrawing would establish the proportions and placement of Shaw’s features, particularly the eyes and eyebrows which are crucial for expression (Source 4).
underpainting
The sources suggest a method involving a monochrome underpainting (grisaille) before applying color. One traditional approach is to create a grisaille, mentally extracting red and yellow colors, and letting it dry completely before glazing and scumbling with oil (Source 2). This allows the artist to establish form and value before introducing color, a technique practiced by old masters and relevant to Knight’s realist tradition (Source 2, Source 8).
color palette
Black, Ultramarine, White
Black, Ultramarine, White
Likely used in the initial monochrome underpainting (grisaille) as per traditional methods described by Sir Joshua Reynolds (Source 2).
Red and Yellow tones
Various red and yellow pigments
Applied as glazes and scumbles over the dry grisaille to introduce color, mimicking the effect of tinting an engraving (Source 2).
Flesh tones
Mixed from palette
General use in portrait painting to achieve a recognizable likeness of the sitter (Source 3).
composition
The composition likely focuses on the head and shoulders or a three-quarter view, which is common in portrait painting to capture character and expression (Source 4). The subject’s expression would be serious or neutral, with the mouth relatively closed, relying on the eyes and eyebrows to convey emotion and inner significance (Source 4). Knight’s realist tradition suggests a focus on the sitter’s character rather than exaggerated caricature (Source 4, Source 8).
step by step
underdrawing→underpainting→first pass→drying→refining→finishing→varnishing
underdrawing
step 01
Sketch the subject, George Bernard Shaw, onto the canvas using charcoal or thinned paint. Focus on accurate proportions to ensure a recognizable likeness.
Tip — Ensure the sketch captures the essential character and expression, particularly in the eyes and eyebrows.
Traditional underdrawing
underpainting
step 02
Create a monochrome underpainting (grisaille) using black, ultramarine, and white mixed with oil of copavia or linseed oil. Establish the values and forms of the face and clothing.
Tip — Mentally extract red and yellow colors, focusing on the underlying structure and light/shadow.
Grisaille
first pass
step 04
Apply transparent glazes of red and yellow tones over the dry grisaille. Use oil as a medium to create a transparent coat of color.
Tip — Apply thin layers to allow the underlying monochrome to show through, adjusting the hue and saturation.
Glazing
drying
step 03
Allow the grisaille to dry completely. This may take several days to weeks depending on the thickness and environment.
Tip — Do not proceed to color glazing until the underpainting is fully dry to prevent cracking.
Oxidation drying
refining
step 05
Use scumbling (semi-opaque painting) to adjust highlights and cool tones, particularly over darker areas. This can create a grey bloom or adjust the temperature of the skin tones.
Tip — Be mindful that scumbling over darker grounds tends to coldness; use it to refine the expression and character.
Scumbling
finishing
step 06
Continue layering paint, adhering to the 'fat over lean' rule. Each additional layer should contain more oil than the layer below to ensure proper drying and prevent cracking.
Tip — Use brushes, palette knives, or rags to adjust texture and form. Oil paint remains wet longer, allowing for changes.
Fat over lean
varnishing
step 07
Once the painting is completely dry (usually within two weeks to months), apply a varnish to protect the surface and unify the sheen.
Tip — Ensure the painting is fully dry to avoid trapping solvents.
Varnishing
critical techniques
Fat over lean
A basic rule of oil paint application where each additional layer contains more oil than the layer below to allow proper drying and prevent cracking. This is crucial for the longevity of the portrait.
Glazing
Applying a transparent coat of color over a dry underpainting. This technique allows for rich, luminous colors and is used to introduce red and yellow tones over the grisaille.
Scumbling
Semi-opaque painting through which the underlying painting makes itself felt. Used to adjust highlights and create subtle tonal variations, particularly in skin tones.
Grisaille
A monochrome underpainting that establishes form and value before color is applied. This method was practiced by old masters and is suitable for achieving a serious, character-driven portrait.
common pitfalls
- →Applying lean layers over fat layers, which can cause the painting to crack and peel (Source 1).
- →Attempting to apply color glazes before the underpainting is completely dry, leading to muddiness or cracking (Source 2).
- →Focusing too much on literal likeness rather than capturing the inner essence and character of the subject, which is the aim of great portraiture (Source 4).
- →Over-modeling or being too tied down to the outline, which can result in a stiff or unnatural appearance (Source 7).
- →Ignoring the expressive capacity of the medium, such as the ability to hold or conceal brushstrokes, which contributes to the painting's vitality (Source 1, 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 details of George Bernard Shaw's appearance in this 1942 portrait (e.g., exact clothing, background, pose) are not described in the sources.
- ·Laura Knight's specific palette preferences for this period are not detailed, though her general use of oils is noted.
- ·The exact dimensions and canvas type used for this specific work are not provided.
- ·Whether Knight used a specific varnish or resin in this work is not stated, though these are mentioned as possible media (Source 1).
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 General advice on craftsmanship and avoiding over-modeling.
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Importance of medium's vitality and avoiding mere 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 use of solvents/mediums.
Wikipedia: Portrait painting↗
- Portrait painting — part 1 — applied to Goal of recognizable likeness and record of appearance.
- Portrait painting — part 2 — applied to Capturing inner essence, character, and expression through eyes/eyebrows.
Wikipedia bio — Laura Knight↗
- Laura Knight — part 1 — applied to Artist's style (English Impressionism, realist tradition) and medium (oils).
Read more about the corpus on the sources page and how the guides are built on the methods page.
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