plate no. 4839

Karl Josef Berkmuller

oil, canvasNeoclassicismportraitportraitfiguremanclothingpaperwriting

recreation guide

This recreation guide addresses the painting of 'Karl Josef Berkmuller' by Franz Xaver Winterhalter, dated 1830. As a Neoclassical portrait, the work relies on the disciplined use of oil paint to achieve a likeness that serves as a record of the sitter's appearance (Source 7). The distinctive quality of such works from this period lies in the layering of transparent and semi-opaque colors to create depth and richness, a method that was standard practice among old masters despite modern prejudice against it (Source 1). The artist’s approach likely involves a rigorous understanding of materials, ensuring that the medium’s capacity for illusion is balanced with the expressive vitality of the paint itself (Source 8).

estimated time

40-60 hours over 8-12 sessions, allowing for drying times between glaze layers

materials

6 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Canvas or wood panel	Support for the oil painting	Linen canvas primed with gesso or oil ground
Linseed oil or poppy seed oil	Binder for pigments; provides flexibility and rich color	Refined linseed oil or walnut oil
Turpentine	Thinner for initial washes and cleaning	Odorless mineral spirits or pure gum turpentine
Oil of Copavia (or modern damar resin varnish)	Medium for first and second paintings to ensure proper drying and gloss	Damar varnish mixed with oil
Pigments: Black, Ultramarine, White, Red, Yellow	Core palette for grisaille and subsequent glazing	Ivory black, French ultramarine, Titanium white, Cadmium red/yellow or Alizarin crimson/Yellow ochre
Varnish	Final protection and unification of sheen	Stand oil or resin-based varnish

preparation

surface prep

Prepare a rigid support such as canvas or wood panel. The surface should be primed to accept oil paint. While specific ground recipes for Winterhalter are not detailed in the sources, the general practice of the period involved preparing a surface that allows for the 'vast capacity of oil paint' to create illusion without losing the vitality of the medium (Source 8). Ensure the ground is smooth to facilitate the fine finish characteristic of Neoclassical portraiture.

underdrawing

Begin with a sketch using pencil, charcoal, or thin oil to establish the general form and rough likeness of the sitter (Source 6). In portrait painting, it is common to complete the face first to ensure the likeness is captured while the sitter is present or while the reference is fresh (Source 6). If the sitter's time is limited, a complete sketch may be done beforehand (Source 6).

underpainting

Execute a grisaille (monochrome underpainting) using black, ultramarine, and white mixed with oil of copavia or a similar medium (Source 1). This step involves mentally extracting red and yellow colors to establish the tonal structure of the painting (Source 1). Allow this layer to dry completely before proceeding. This method aligns with the practice of Sir Joshua Reynolds and other old masters who used a limited palette for the initial structure (Source 1).

color palette

Black

Ivory black or lamp black

Grisaille underpainting and shadows

Ultramarine

Natural ultramarine

Grisaille underpainting and cool shadows

White

Lead white or titanium white

Grisaille underpainting and highlights

Red

Vermilion or lake pigments

Glazing and scumbling to add warmth and flesh tones

Yellow

Yellow ochre or lead-tin yellow

Glazing and scumbling to add warmth and highlights

composition

The composition likely focuses on the sitter's head and hands, which were often painted by the master, while clothing and background might be handled by apprentices or specialists (Source 6). The background may be simple or dark to emphasize the sitter, consistent with portrait conventions that prioritize the likeness and social status of the subject (Source 6). Symbolic elements may be included to encode the sitter's character or occupation, though specific details for this painting are not described in the sources (Source 6).

step by step

underdrawing→underpainting→refining→finishing→varnishing

underdrawing

step 01
Sketch the general form and rough likeness of the sitter on the prepared surface using pencil, charcoal, or thin oil.
Tip — Focus on the face first to capture the likeness accurately.
Initial sketching

underpainting

step 02
Apply a grisaille using black, ultramarine, and white mixed with oil of copavia. Establish the tonal values without red or yellow.
Tip — Mentally extract red and yellow colors to focus on form and light.
Grisaille

refining

step 03
Allow the grisaille to dry completely. Then, glaze and scumble with oil (or varnish and oil mixed) to add red and yellow tones.
Tip — Glazing is a transparent coat; scumbling is semi-opaque. Use these to tint the painting like watercolors on an engraving.
Glazing and Scumbling

finishing

step 04
Refine the details, particularly in the face and hands, ensuring the likeness is recognizable and the colors are harmonious.
Tip — Avoid over-modeling; check for balance between broad masses and finish.
Detailing

varnishing

step 05
Apply a final varnish to protect the painting and unify the sheen.
Tip — Ensure the painting is fully dry before varnishing.
Varnishing

critical techniques

Glazing

Applying a transparent coat of color over a dry underpainting to build depth and richness. This was a common practice among old masters.

Scumbling

Applying a semi-opaque layer of paint over a darker ground to create coldness or grey blooms, allowing the underlying painting to show through.

Grisaille

Creating a monochrome underpainting using black, ultramarine, and white to establish form and value before adding color.

common pitfalls

→Over-modeling or becoming too tied to the outline, which can make the painting appear stiff. Copying works like Reynolds’s 'Portraits of Two Gentlemen' can help correct this tendency (Source 2).
→Neglecting the drying time between layers, which can lead to cracking or muddiness. The grisaille must be quite dry before glazing (Source 1).
→Attempting to deceive the eye completely rather than expressing the vitality of the medium. Oil paint should be used as a painted symbol, not just a substitute for nature (Source 8).
→Using too much red and yellow in the initial underpainting, which undermines the structural integrity of the grisaille method (Source 1).

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 elements are not described in the sources and must be inferred from the original artwork or historical records.
·The exact proportions and dimensions of the canvas are not provided.
·Winterhalter's specific personal variations on the grisaille technique are not detailed; the guide relies on general old master practices cited in the sources.
·The specific lighting conditions and pose of the sitter are not described in the sources.

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 Advice on correcting over-modeling and improving finish
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of using oil paint as an expressive medium rather than 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 Materials, drying oils, and varnishing
Wikipedia: Portrait painting↗
- Portrait painting — part 5 — applied to Order of painting (face first), use of sketches, and division of labor
- Portrait painting — part 1 — applied to Purpose of portraiture and likeness