plate no. 8967

Her Eyes are with Her Thoughts and They are Far Away

oilRomanticismportraitfigureflowersarchitecturesealandscapecolumns

what to study here

It shows how one saturated accent, warm mid-tones and a cool distance can be balanced so the eye still lands on the figure's gaze.

The useful lesson here is how a warm, narrow palette is held together by one strong accent. The wall, bench and sunlit architecture sit in a band of ochres and siennas, so the middle values stay cohesive. Against that, the orange-red flowering tree is the single saturated note, and it works because it sits on dark foliage and a dark pot. Copy the order: dark mass first, then the bright flowers over it, with some dark left at the edges to contain the color. Look at how the edges change. The figure and architecture are crisp, the blooms dissolve softly into the foliage, and the distant sea and cliffs are looser, cooler and lighter. That gives three readable value zones: shadowed frame, lit interior, bright seascape. The drapery is described as glazed and translucent rather than visibly brushed, with warm shadows instead of gray ones. Note also where the face is kept soft and unfocused so the far-away gaze carries the mood. Squint at a reproduction and check that the flowers do not outrank the figure.

key decision

The painter set the orange-red flowers against dark foliage and a dark pot, which makes them luminous while the rest of the interior stays in a unified warm ochre mid-tone.

recreation guide

Sir Lawrence Alma-Tadema’s *Her Eyes are with Her Thoughts and They are Far Away* (1897) is a portrait executed in oil, situated within the Romanticism style. While the specific visual details of the sitter’s attire or background are not described in the provided sources, the work belongs to the genre of portrait painting, which historically aims to achieve a recognizable likeness of the sitter (Source 6). Alma-Tadema’s practice, consistent with the 'old masters' referenced in technical literature, likely involved a methodical approach to color and light. The painting would have utilized principles of simultaneous contrast and chiaroscuro to create depth and harmony, where juxtaposed tones enfeeble or heighten one another to produce a true gradation of light (Source 1). The artist’s technique likely relied on glazing and scumbling over a monochrome underpainting to achieve the luminous quality characteristic of his period, rather than direct opaque application (Source 3).

estimated time

40-60 hours over 8-12 sessions

materials

4 items

steps

7 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Red, Yellow)	Primary pigments for underpainting and glazing	High-quality artist-grade oils
Oil of Copavia (or modern linseed/stand oil)	Medium for the first and second paintings, as noted by Reynolds in the context of old master techniques	Stand oil or walnut oil for slower drying
Varnish	Mixed with oil for later glazing stages to gain mastery over transparent coats	Dammar or synthetic resin varnish
Canvas or Panel	Support for the oil painting	Linen canvas primed with gesso

preparation

surface prep

The surface should be prepared to accept a monochrome underpainting. While specific priming details for this exact work are not in the sources, the technique described involves a 'grisaille' (monochrome) base that must be 'quite dry' before glazing (Source 3). This suggests a stable, non-absorbent ground that allows for the layering of transparent oils without lifting the underlayer.

underdrawing

The sources do not explicitly describe Alma-Tadema’s underdrawing method for this specific portrait. However, general advice for copying works suggests that artists should be 'sound craftsmen' who understand their medium’s capacities (Source 8). It is likely that a precise underdrawing was used to establish the likeness, as portrait painting aims for a recognizable record of the sitter’s appearance (Source 6).

underpainting

A monochrome underpainting (grisaille) is recommended, consistent with the method described for old masters. This involves painting the form in neutral tones, mentally extracting red and yellow colors to establish value and structure (Source 3). Sir Joshua Reynolds’ method, cited as representative of established practice, used black, ultramarine, and white for the first and second paintings (Source 3).

color palette

Ultramarine

Pure ultramarine pigment

Underpainting and cool shadows, as part of Reynolds’ established method (Source 3)

White

Lead white or titanium white

Highlights and mixing with ultramarine/black for the grisaille (Source 3)

Black

Ivory black or lamp black

Dark values in the underpainting (Source 3)

Red and Yellow tones

Transparent reds (e.g., vermilion, cadmium) and yellows (e.g., chrome, cadmium)

Glazing and scumbling over the dry grisaille to add flesh tones and warmth (Source 3)

composition

The composition likely adheres to principles of visual ordering, using line, shape, and value to guide the eye (Source 4). While specific layout details are not provided, the artist would have considered the 'simultaneous contrast' of colors, ensuring that juxtaposed tones create a harmonious gradation of light rather than flat juxtaposition (Source 1). The portrait genre implies a focus on the human figure, where flesh colors are fixed by the model, but draperies and background are chosen by the painter to harmonize with the inherent colors (Source 1).

step by step

underdrawing→underpainting→drying→refining→finishing→glazing→scumbling

underdrawing

step 01
Sketch the likeness of the sitter, focusing on accurate proportions and facial features to ensure a recognizable record.
Tip — Ensure the drawing is precise, as the subsequent layers will build upon this structure.
Portrait drawing

underpainting

step 02
Create a grisaille (monochrome) underpainting using black, ultramarine, and white. Establish the full range of values from dark to light.
Tip — Mentally extract red and yellow colors, focusing only on value and form (Source 3).
Grisaille

drying

step 03
Allow the grisaille to dry completely. This is crucial before applying glazes.
Tip — Rushing this step can cause the underpainting to mix with glazes, muddying the colors.
Drying

refining

step 06
Adjust colors based on simultaneous contrast. Ensure that juxtaposed colors do not appear flat but interact to create a gradation of light.
Tip — Be aware that the eye may see colors inaccurately due to mixed contrast; check colors against neutral backgrounds (Source 5).
Simultaneous Contrast

finishing

step 07
Finalize the likeness and harmonize the composition. Ensure that the chosen draperies and background colors harmonize with the inherent flesh tones.
Tip — Use complementary or analogous colors to create pleasing contrasts and consonances (Source 7).
Color Harmony

glazing

step 04
Apply transparent coats of red and yellow tones over the grisaille. Use oil of copavia or a similar medium.
Tip — Glazing is a transparent coat of color that allows the underlying painting to show through, creating depth (Source 3).
Glazing

scumbling

step 05
Use semi-opaque paint (scumbling) to adjust tones, particularly in areas where a 'grey bloom' or coldness is desired over darker grounds.
Tip — Scumbling allows the underlying painting to make itself felt, adding texture and variation (Source 3).
Scumbling

critical techniques

Glazing and Scumbling

Used by old masters to build color and depth over a monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque texture (Source 3).

Simultaneous Contrast

Understanding that juxtaposed colors affect each other’s appearance. The highest tone is enfeebled and the lowest heightened, creating a true gradation of light (Source 1).

Monochrome Underpainting

Establishing value structure without color interference, allowing for precise control over light and shadow before introducing hue (Source 3).

common pitfalls

→Failing to let the grisaille dry completely before glazing, which can ruin the transparency and clarity of the final image (Source 3).
→Ignoring simultaneous contrast, leading to flat or inaccurate color relationships where juxtaposed tones do not interact to create depth (Source 1).
→Over-modeling or becoming too tied to the outline, which can result in a stiff appearance. Copying works like Reynolds’ portraits can help check this tendency (Source 8).
→Misjudging colors due to mixed contrast, where the eye sees the complementary of a previously viewed color rather than the true color (Source 5).

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 clothing, jewelry, or background are not described in the sources, so these must be inferred from the artist’s general style or left to the artist’s discretion.
·The exact proportions and dimensions of the painting are not provided.
·Specific brushwork techniques (e.g., impasto vs. smooth finish) are not detailed, though glazing implies a smoother surface.
·The specific lighting setup or time of day depicted is not described.

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 General craftsmanship and avoiding over-modeling
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Chiaroscuro and simultaneous contrast principles
- 315-318. Simultaneous contrast of colours — applied to Color interaction and accuracy in perception

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 Genre context and goal of likeness
Wikipedia: Harmony (color)↗
- Harmony (color) — part 1 — applied to Color harmony and complementary colors

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

Warm Mediterranean light floods from the left through a columned portico, illuminating a pensive figure in white drapery seated on a bench. A vivid orange-red flowering tree in a dark pot occupies the foreground left, creating a striking chromatic focal point. The viewer's eye travels from the figure's distant gaze through the architecture to the sea and cliffside landscape beyond. The composition is anchored by strong light on the figure against warmer shadow tones on the bench and wall, with the distant landscape rendered in cooler, hazier tones.

value structure

The value range runs from deep darks in the pot and tree foliage to bright lights in the figure's skin and upper drapery. A distinct middle value dominates—the warm ochre wall and bench create a cohesive mid-tone band that anchors the composition. The sky and distant water are noticeably cooler and lighter than the warm architectural foreground. Squint to see three clear value zones: the shadowed architectural frame, the illuminated interior, and the bright seascape backdrop.

observed palette and mixes

#d3cf9c
Titanium white + raw sienna + touch of yellow ochre
The figure's skin tones and brightest passages of the drapery
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Yellow ochre + raw sienna + white
The sunlit portions of the bench, wall, and architectural elements
#b4a465
Ochre + gold ochre with added white
Mid-tone areas of the wall, shadow side of the bench, and softer architectural surfaces
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Raw sienna + burnt sienna + ochre
Shadows on the bench, darker folds in drapery, and foliage mass beneath the flowers
#898146
Burnt sienna + yellow ochre + umber
The shadowed tree foliage and deepest darks on the pot
#774e23
Burnt umber + alizarin + touch of black
The dark pot and the deepest shadow passages within the tree
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Cadmium red + cadmium orange + touch of yellow ochre
The brilliant orange-red flowers, mixed with deeper tones for form
#7eb3d6
Ultramarine blue + white + touch of yellow ochre
The sky and distant seascape, hazier than the warm tones

edges and brushwork

Architectural elements and the figure's core forms have relatively crisp edges that read clearly against surrounding tones. The flowering tree edges are soft and feathered where individual blooms dissolve into the dark foliage mass, requiring patience to avoid a hard outline. Drapery folds transition with subtle brushwork, never harsh—the technique favors glazed, translucent passages over visible brushstrokes. The distant landscape is deliberately looser and hazier, with softer transitions to create atmospheric recession.

a working sequence

01
Establish the architectural armature
Lightly sketch the composition: the two columns framing the left edge, the bench running horizontally, and the seated figure's major forms. Mark the horizon line where sea meets sky—it should cut roughly through the middle distance. Use straight edges for the columns and architectural lines; this framework anchors everything that follows.
02
Lay in the value foundation with thin washes
Tone the entire canvas with a wash of raw sienna thinned with turpentine. Block in the sky as a cool pale blue; the distant sea as a slightly warmer blue-green. Establish the warm ochre wall and bench with a single mid-tone wash. Keep these translucent—you're building a roadmap, not final color.
03
Develop the background landscape and architecture
Work the distant cliffs and water with atmospheric perspective—softer edges, cooler temperatures, less contrast than foreground. Refine the columns with shadows on their surfaces where light wraps around them. The wall shadow should be a warm brown-ochre, distinct from the lit wall but harmonious. Establish the cool shadow under the bench.
04
Paint the figure's flesh and drapery foundation
Begin the figure's face and neck with warm, golden skin tones—establish the subtle turn of her head and the direction of her gaze toward the distance. Block in the white drapery with pale ochre-warmed whites; note where deep folds create shadow and where the fabric catches light. The drapery should read as translucent linen, not opaque—maintain subtle warmth in the shadows.
05
Build the dramatic orange-red tree
Underlay the foliage mass with dark warm browns and ochres, establishing the tree's overall shape and volume. Then layer the vibrant orange-red flowers over this dark base—the contrast makes them luminous. Vary the orange-red from pure bright notes to deeper burnt-orange in shadow areas. Leave some dark foliage visible at the edges to contain the flowers' intensity.
06
Refine and integrate the dark pot
Paint the pot with deep warm browns and blacks, establishing it as the visual weight that anchors the composition. Show its cylindrical form through subtle shadows and highlights. The pot should feel solid and grounded, preventing the flowers from floating.
07
Develop the figure's details and modeling
Refine the face with careful attention to the subtle features and the distant, meditative expression. Deepen the drapery folds using warm browns in shadow; preserve the luminous quality in lit areas. Paint the decorative band or tie on the drapery where visible. The figure should feel three-dimensional and at rest.
08
Final harmonization and atmospheric effects
Add soft glazes to unify the warm interior with the cool seascape beyond. Refine architectural details—subtle texture on columns, any decorative elements. Soften edges where atmospheric perspective demands it. Step back frequently to check that the eye travels correctly—from figure to distant gaze—and that the orange tree vibrates without dominating the figure's contemplative mood.

where studies of this painting go wrong

The orange-red flowers will easily become garish or acidic if not tempered by dark foliage beneath and shadows within. Each flower cluster needs internal modeling; paint pure orange-red only for the brightest highlights.
The figure's drapery is easy to render as flat or heavy. Maintain the translucent, ethereal quality by keeping shadows warm and luminous rather than gray or muddy; let the underlying ochre wall show through the folds subtly.
The transition between the warm interior light and cool distant seascape can feel disconnected or jarring. Use the columns and architecture as a visual bridge; let the shadow on the bench cool gradually toward the landscape.
The figure's far-away expression is easily lost. Preserve the soft, unfocused quality of the face and eyes; avoid overworking facial features. The power lies in suggesting thought and emotion, not in rendering perfect anatomy.

measured difficulty