plate no. 1195
John Whitehurst
Joseph Wright, 1783
recreation guide
Joseph Wright of Derby’s *John Whitehurst* (1783) is a portrait that exemplifies the artist’s transition from dramatic, candlelit scientific scenes to more intimate, character-driven portraiture during the British Enlightenment. Wright is historically noted for his mastery of tenebrism and chiaroscuro, techniques that emphasize stark contrasts between light and dark to create depth and drama (Source 5, Source 6). While this specific portrait may not feature the theatrical lighting of his earlier works like *An Experiment on a Bird in the Air Pump*, it likely retains Wright’s characteristic attention to the psychological presence of the sitter and the textural realism of materials, consistent with his reputation as a painter who captured the 'spirit of the Industrial Revolution' through detailed observation (Source 6). The work serves as a record of John Whitehurst, a prominent clockmaker and scientist, reflecting the middle-class patronage that became common in the late 18th century (Source 7).
estimated time
20-30 hours over 5-7 sessions
materials
4 items
steps
7 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Earth tones, Vermilion/Red Ochre) | Primary pigments for building form and color. Wright’s practice likely involved a limited palette for underpainting. | High-quality artist-grade oils; Ultramarine Blue, Titanium White, Ivory Black, Burnt Umber, Raw Sienna, Cadmium Red or Vermilion. |
| Oil of Copavia (or modern stand oil/linseed oil) | Medium for glazing and binding pigments. Sir Joshua Reynolds, a contemporary influence, used oil of copavia for his first and second paintings (Source 2). | Stand oil or a mixture of linseed oil and damar varnish for glazing. |
| Canvas | Support for the oil painting. | Linen or cotton canvas, primed with gesso. |
| Charcoal or Red Chalk | Underdrawing to establish proportions and initial values. | Vine charcoal or sanguine chalk. |
preparation
surface prep
The canvas should be prepared with a neutral or slightly warm ground, typical of 18th-century practice. While Wright’s specific ground preparation is not detailed in the sources, the general practice of the period involved sizing and priming to create a smooth surface for detailed work. A mid-tone ground (such as raw umber diluted with oil) can facilitate the grisaille underpainting method described in Source 2, allowing for easier judgment of light and dark values.
underdrawing
Begin with a loose underdrawing using charcoal or chalk to establish the proportions of the figure and the placement of key features. Wright’s portraits are known for their psychological accuracy, so careful attention to the sitter’s pose and expression is crucial. The sources do not specify Wright’s exact underdrawing technique, but the emphasis on 'sound craftsmanship' suggests a deliberate and accurate initial layout (Source 1).
underpainting
Employ a grisaille (monochrome) underpainting to establish the tonal structure of the portrait. This involves painting the entire composition in shades of gray or a neutral earth tone, effectively 'extracting the red and yellow colours' to focus on form and light (Source 2). This step is critical for achieving the depth and realism characteristic of Wright’s work. Ensure the grisaille is completely dry before proceeding to glazing.
color palette
Ultramarine
Pure ultramarine blue
Shadows and cool tones. Reynolds used ultramarine in his initial paintings (Source 2).
White
Lead white or modern titanium white
Highlights and mixing tints. Essential for the chiaroscuro effect.
Black
Ivory black or lamp black
Deep shadows and defining contours. Used in conjunction with ultramarine and white in Reynolds’ method (Source 2).
Red/Yellow Tones
Vermilion, red ochre, yellow ochre
Glazing and scumbling to add warmth and flesh tones. These are applied over the dry grisaille (Source 2).
Earth Tones
Burnt umber, raw sienna
General modeling and background elements, consistent with Wright’s naturalistic style.
composition
While the specific composition of *John Whitehurst* is not detailed in the sources, Wright’s portraits typically feature a direct engagement with the viewer, emphasizing the sitter’s character and status. The composition likely balances the figure against a neutral or subtly detailed background to avoid distraction from the face. Wright’s use of chiaroscuro suggests that light will be directed to highlight the face and hands, drawing attention to the sitter’s intellect and craftsmanship (Source 5, Source 6).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the basic proportions of the figure and face using charcoal. Focus on accurate likeness and pose.
Tip — Ensure the eyes are level and the head is correctly tilted, as Wright’s portraits are known for their psychological accuracy.
Proportional sketching
underpainting
step 02
Apply a grisaille underpainting using black, white, and ultramarine (or earth tones) to establish light and shadow. Do not include red or yellow hues yet.
Tip — Think of this as 'extracting the red and yellow colours' to focus on form (Source 2).
Grisaille
first pass
step 03
Once the grisaille is dry, begin glazing with transparent layers of red and yellow tones. Use oil of copavia or a similar medium to create depth.
Tip — Glazing adds luminosity and richness. Apply thin, transparent coats (Source 2).
Glazing
refining
step 04
Use scumbling (semi-opaque paint) to adjust highlights and cool down areas. Scumbling over darker grounds can create a 'grey bloom' or coldness, useful for shadows (Source 2).
Tip — Be cautious not to muddy the colors. Scumbling should be used sparingly to refine edges and highlights.
Scumbling
step 05
Enhance color intensity by placing complementary colors adjacent to each other. For example, if the flesh tones are too red, surround them with greenish tones in the background or clothing to make them appear redder without changing the paint (Source 3).
Tip — This optical effect can intensify colors without mixing, preserving purity (Source 3, Source 4).
Complementary Color Juxtaposition
finishing
step 06
Finalize details, particularly in the eyes and hands, to capture the sitter’s character. Ensure the chiaroscuro effect is balanced, with clear distinctions between light and dark areas.
Tip — Wright’s strength lies in dramatic lighting; ensure the light source is consistent and impactful (Source 5, Source 6).
Chiaroscuro/Tenebrism
varnishing
step 07
Apply a final varnish to protect the painting and unify the surface. This was a common practice among old masters (Source 2).
Tip — Wait until the painting is completely dry to avoid trapping solvents.
Varnishing
critical techniques
Grisaille Underpainting
Painting the composition in monochrome to establish form and value before adding color. This method was used by Reynolds and likely by Wright to achieve depth and realism (Source 2).
Glazing and Scumbling
Applying transparent (glazing) and semi-opaque (scumbling) layers of color over the dry underpainting. This builds up luminosity and texture, a hallmark of old master techniques (Source 2).
Chiaroscuro/Tenebrism
Using strong contrasts between light and dark to create drama and volume. Wright is particularly noted for this in his candlelit scenes, and it likely informs the lighting in his portraits (Source 5, Source 6).
Complementary Color Juxtaposition
Placing complementary colors next to each other to enhance their intensity optically. For example, using blue tones to make red flesh tones appear more vibrant (Source 3, Source 4).
common pitfalls
- →Over-mixing colors on the palette, which can lead to muddy tones. Instead, use glazing and juxtaposition to achieve color intensity (Source 3, Source 8).
- →Adding black to darken colors, which can shift the hue toward green or blue. Use complementary colors to neutralize and darken without hue shift (Source 8).
- →Neglecting the underpainting, which is crucial for the depth and realism achieved by Wright and his contemporaries (Source 2).
- →Failing to let layers dry completely before glazing, which can cause cracking or muddiness (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 details of John Whitehurst’s clothing, pose, and background are not described in the sources, so the artist must rely on historical portraits of Whitehurst or general 18th-century portraiture conventions.
- ·Wright’s exact pigment palette for this specific painting is not documented, so the suggested palette is based on general 18th-century practices and Reynolds’ methods.
- ·The specific lighting setup for the portrait is not detailed, though Wright’s general use of chiaroscuro is noted.
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 Emphasis on craftsmanship and understanding medium (Source 1).
- COLOURING A MONOCHROME — applied to Grisaille underpainting, glazing, and scumbling techniques (Source 2).
The Science of Painting↗
- When two colours separated by more than two others — applied to Use of complementary colors to enhance intensity (Source 3).
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Complementary colors↗
- Complementary colors — part 1 — applied to Understanding complementary color pairs (Source 4).
Wikipedia bio — Joseph Wright↗
- part 3 — applied to Wright’s use of chiaroscuro and tenebrism (Source 5).
- part 1 — applied to Wright’s style and reputation (Source 6).
Wikipedia: Portrait painting↗
- Portrait painting — part 1 — applied to Context of portrait painting in the 18th century (Source 7).
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Pitfalls of mixing black and white (Source 8).
Read more about the corpus on the sources page and how the guides are built on the methods page.
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