plate no. 8094

Ideal portrait of Shakespeare

oilNeoclassicismportraitportraitfiguredraperyfoliageframelandscape

recreation guide

Angelica Kauffman’s 'Ideal portrait of Shakespeare' (1775) is a Neoclassical work that reflects her identification as a history painter rather than a mere portraitist. While the specific visual details of this particular canvas are not described in the provided sources, Kauffman’s practice involved extensive study of Old Masters such as Raphael, Titian, and Guido Reni, and she often employed allegorical or idealized elements consistent with academic art theory (Source 4). The work likely exhibits the 'grace, elegance and accuracy' noted by contemporary critics, utilizing a palette and technique grounded in the rigorous training she received in Italy and her subsequent work in London (Source 4, Source 6). As a Neoclassical artist, she would have prioritized clear design and composition, potentially using glazing and scumbling techniques common to the Old Masters she studied (Source 7).

estimated time

40-60 hours over 8-12 sessions

materials

4 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Red, Yellow earth tones)	Primary pigments for underpainting and glazing	High-quality artist-grade oil paints
Oil of Copavia (or Linseed Oil)	Medium for mixing paints, as cited in Reynolds' method which Kauffman would have known	Stand oil or refined linseed oil
Canvas or Panel	Support for the painting	Linen canvas primed with gesso
Varnish	For glazing and finishing, mixed with oil for mastery stages	Dammar varnish or modern resin varnish

preparation

surface prep

Prepare a smooth ground suitable for fine detail and glazing. Kauffman’s training in Italy and her association with the Royal Academy suggest a preference for a neutral or warm-toned ground that facilitates the 'grisaille' or monochrome underpainting method described in contemporary practice (Source 7). The surface should be sealed to prevent oil absorption before the first layer.

underdrawing

Kauffman was known for her 'accuracy' and 'design' (Source 4). While specific underdrawing techniques for this portrait are not detailed, her background in history painting implies a careful preliminary drawing to establish correct anatomy and composition, likely using charcoal or thinned oil. She studied anatomy through copying drawings of Old Masters (Source 4), suggesting a precise linear foundation.

underpainting

Likely employed a monochrome underpainting (grisaille) using black, ultramarine, and white, as described in Sir Joshua Reynolds’ method which was influential in the Royal Academy circle Kauffman frequented (Source 7). This layer establishes values and forms before color is introduced.

color palette

Ultramarine

Pure ultramarine

Underpainting and shadows, as per Reynolds' cited method (Source 7)

White

Lead white or modern titanium/zinc white

Highlights and mixing for tints in underpainting (Source 7)

Black

Ivory black or lamp black

Underpainting and deep shadows (Source 7)

Red and Yellow tones

Vermilion, red lake, yellow ochre

Glazing and scumbling over the dry underpainting to introduce flesh tones and warmth (Source 7)

composition

As an 'ideal' portrait, the composition likely avoids strict realism in favor of an elevated, dignified representation consistent with history painting principles (Source 4). Kauffman’s work is characterized by 'grace, elegance and accuracy' (Source 4). The pose and expression would be carefully constructed to reflect the subject's intellectual stature, possibly incorporating allegorical elements typical of her style, though specific details are not in the sources.

step by step

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

underdrawing

step 01
Sketch the composition carefully, focusing on accurate anatomy and dignified pose, reflecting Kauffman’s training in history painting and copying of Old Masters.
Tip — Ensure proportions are correct, as Kauffman was noted for accuracy (Source 4).
Linear drawing

underpainting

step 02
Apply a monochrome layer using black, ultramarine, and white mixed with oil of copavia (or linseed oil) to establish values and forms.
Tip — This method is attributed to Reynolds, a contemporary and colleague of Kauffman at the Royal Academy (Source 7).
Grisaille

first pass

step 03
Allow the underpainting to dry completely. Then, begin glazing and scumbling with red and yellow tones to introduce color, particularly in flesh areas.
Tip — Glazing involves transparent coats; scumbling is semi-opaque. This mimics the Old Master technique Kauffman studied (Source 7).
Glazing and Scumbling

refining

step 04
Refine the complexion by finding the predominating color and using contrast to enhance it. Avoid the error of using only red and white for beauty; consider warmer, bronzed, or copper tones if appropriate for the idealized subject (Source 3).
Tip — Use complementary colors to enhance the complexion’s value and brilliance (Source 3).
Color Contrast

finishing

step 05
Complete the details, ensuring the dress and background colors harmonize with the complexion through the principle of harmony of contrast (Source 3).
Tip — Check that the accessories and background do not compete with but rather support the face (Source 3).
Harmony of Contrast

varnishing

step 06
Apply a final varnish to protect the painting and unify the glazes.
Tip — Ensure the painting is fully dry before varnishing.
Varnishing

critical techniques

Glazing and Scumbling

Used to build up color and depth over a monochrome underpainting, a method practiced by Old Masters and cited in Reynolds' technique (Source 7).

Harmony of Contrast

Applied to the complexion and surrounding colors to enhance the portrait’s effect, avoiding monotony by using complementary or broken tones (Source 3).

Idealization

Kauffman identified as a history painter, so the portrait likely elevates the subject beyond mere likeness to an idealized, dignified representation (Source 4).

common pitfalls

→Using only red and white for the complexion, which is a common error that fails to capture the brilliance of warmer or more complex skin tones (Source 3).
→Neglecting the contrast between the complexion and the dress/background, leading to a poor effect (Source 3).
→Over-modeling or being too tied to the outline, which can result in a small, timid appearance (Source 1).
→Failing to allow the underpainting to dry before glazing, which can muddy the colors (Source 7).

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 'Ideal portrait of Shakespeare' (e.g., exact pose, clothing, background elements) are not described in the sources.
·Kauffman’s specific personal palette preferences for this particular work are not detailed, only general period practices and Reynolds' method are cited.
·The exact dimensions and support material of the original painting are not provided.

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 (Source 7)
- ON COPYING — applied to Advice on avoiding over-modeling and smallness (Source 1)
Laws of Contrast of Colour↗
- Application to Portrait Painting — applied to Color harmony and complexion rendering (Source 3)