plate no. 0436

Joanna of Aragon

oil, canvasHigh Renaissanceportraitportraitfiguredressbackgroundcolumnsarchitecture

recreation guide

This recreation guide addresses Raphael’s *Joanna of Aragon* (1518), a High Renaissance portrait executed in oil on canvas. Raphael was renowned as one of the finest draftsmen in Western art, utilizing extensive preparatory drawings to refine poses and compositions, often creating multiple variants before final execution (Source 6). His approach involved a shift from mere production to rigorous research and development, ensuring that every element was aesthetically satisfying and precise (Source 6). While specific visual details of this particular portrait are not described in the provided sources, Raphael’s general practice involved careful planning and a mastery of form that balanced grace with structural integrity.

estimated time

40-60 hours over 8-12 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (pigments bound with drying oil)	Primary medium for painting, offering flexibility, rich color, and layering capabilities.	High-quality artist-grade oil paints
Drying oils (linseed, poppy, walnut, or safflower)	Binder for pigments; choice affects drying time and yellowing.	Refined linseed oil or walnut oil
Turpentine	Thinner for paint and cleaner for brushes.	Odorless mineral spirits or pure gum turpentine
Canvas	Support surface, as specified in the artwork metadata.	Primed linen or cotton canvas
Metalpoint or red/black chalk	For preparatory drawings and underdrawing, consistent with Raphael’s extensive use of these media.	Silverpoint set or high-quality drawing chalks
Varnish (resin-based)	For glazing and final protection, as old masters often used varnish mixed with oil for glazing.	Dammar varnish or synthetic resin varnish

preparation

surface prep

Prepare the canvas with a ground suitable for oil painting. While Raphael’s specific ground recipe for this canvas is not detailed in the sources, the period convention involved preparing a surface that could accept oil layers. The artist must ensure the surface is sound, as the knowledge of the medium’s capacities is essential (Source 1).

underdrawing

Raphael used drawings extensively to plan compositions, often laying out stock drawings and borrowing figures to refine poses (Source 6). He utilized a 'blind stylus' to scratch indentation lines into plaster or paper, leaving no visible mark but guiding the paint (Source 6). For this recreation, begin with a precise underdrawing, possibly using a stylus to indent the ground or a light chalk sketch, reflecting his preference for careful, precise outlines rather than loose, energetic sketches (Source 6).

underpainting

Consider a monochrome underpainting (grisaille) to establish form and value before applying color. This method allows the artist to mentally extract red and yellow tones, focusing on structure (Source 2). Once dry, this layer serves as a foundation for glazing and scumbling, techniques practiced by old masters to achieve depth and luminosity (Source 2).

color palette

Ultramarine

Lapis lazuli pigment

General use in Raphael’s palette; noted in Reynolds’ description of old master methods for initial paintings (Source 2).

White

Lead white or modern titanium/zinc white

Highlights and mixing; essential for the 'white highlights' noted in Raphael’s finished drawings (Source 6).

Black

Ivory black or bone black

Shadows and definition; part of the core palette mentioned in historical glazing methods (Source 2).

Red and Yellow tones

Vermilion, red lake, yellow ochre, or lead-tin yellow

Applied via glazing and scumbling over the grisaille to introduce warmth and flesh tones (Source 2).

composition

Raphael characteristically refined his compositions through multiple sketches, ensuring each variant was full of grace and well-done (Source 6). He often used full-size cartoons, pricked and pounced with soot to transfer the design, ensuring precision in the final work (Source 6). The composition should reflect this meticulous planning, with balanced forms and graceful poses, avoiding the static elements found in some other High Renaissance works by incorporating subtle dynamism (Source 5, though this refers to Titian, it contrasts with the static nature Raphael avoided through his research).

step by step

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

underdrawing

step 01
Create a precise underdrawing using metalpoint or chalk, or indent lines with a blind stylus to guide the painting without visible marks.
Tip — Ensure the drawing is aesthetically satisfying and precise, as Raphael’s sketches were carefully drawn even in initial stages (Source 6).
Blind stylus / precise drawing

underpainting

step 02
Apply a monochrome grisaille layer to establish form and value, excluding red and yellow tones.
Tip — Focus on the structural integrity of the form, as this layer will support subsequent glazes (Source 2).
Grisaille

first pass

step 03
Once the grisaille is dry, begin glazing with transparent coats of color, particularly red and yellow tones, using oil or varnish mixed with oil.
Tip — Apply colors much like tinting an engraving with watercolors, building up depth and luminosity (Source 2).
Glazing

refining

step 04
Use scumbling (semi-opaque painting) over darker grounds to create coldness or grey blooms, allowing the underlying painting to show through.
Tip — Be cautious of over-modeling; scumbling can help soften transitions and add atmospheric effects (Source 2).
Scumbling

finishing

step 05
Refine details and highlights, ensuring the final work maintains the vitality of the medium without attempting to deceive the eye into seeing only nature.
Tip — Remember that art is an expression of feeling through painted symbols, not just a substitute for nature (Source 3).
Detailing

varnishing

step 06
Apply a final varnish to protect the painting and enhance the depth of the glazes.
Tip — Use a resin-based varnish, consistent with old master practices for protection and texture (Source 4).
Varnishing

critical techniques

Glazing and Scumbling

Used by old masters to build up color and depth. Glazing involves transparent coats, while scumbling is semi-opaque, allowing the underlayer to show through. This method was widely practiced by old masters, contrary to modern prejudice (Source 2).

Blind Stylus

Raphael used a blind stylus to scratch indentation lines into the surface, providing a guide for painting without visible marks. This technique allowed for precise composition without cluttering the surface (Source 6).

Extensive Preparatory Drawing

Raphael created numerous sketches and variants to refine poses and compositions, ensuring each element was graceful and well-done. This research-intensive approach was characteristic of his later works (Source 6).

common pitfalls

→Over-modeling or being too tied down to the outline, which can result in a stiff appearance. Copying works like Reynolds’s 'Portraits of Two Gentlemen' can help check this tendency (Source 1).
→Attempting to deceive the eye into seeing only nature, rather than expressing feeling through the medium. Oil paint’s capacity for illusion should not subdue the enjoyment of the medium itself (Source 3).
→Neglecting the importance of the underpainting. The grisaille layer is crucial for supporting the glazes and achieving the desired luminosity (Source 2).

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 *Joanna of Aragon* (e.g., clothing patterns, jewelry, facial expression) are not described in the sources, so they cannot be included in the recreation instructions.
·Raphael’s exact pigment palette for this specific painting is not detailed, so general High Renaissance pigments are suggested.
·The specific ground preparation for Raphael’s canvas is not described, so general period conventions are applied.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting↗
- ON COPYING — applied to Advice on avoiding over-modeling and the importance of being a sound craftsman.
- COLOURING A MONOCHROME — applied to Techniques of glazing and scumbling, and the use of grisaille.
The Practice and Science of Drawing↗
- XX MATERIALS — applied to The importance of the 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 1 — applied to Properties of oil paint and the use of varnish.
Wikipedia bio — Raphael↗
- Raphael — part 11 — applied to Raphael’s use of preparatory drawings, blind stylus, and precise underdrawing.

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

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