plate no. 4902
Marc René, Marquis de Voyer d'Argenson, Lieutenant General of the King's armies, Inspector General of Cavalry
recreation guide
This artwork is an oil portrait of Marc René, Marquis de Voyer d'Argenson, depicting him in his military capacity as Lieutenant General. While the specific visual details of this particular canvas are not described in the provided sources, the work belongs to the Rococo genre and the tradition of portrait painting, which historically served to memorialize the rich and powerful, often commissioned by public or private persons to record their appearance and status (Source 5). The artist, Maurice Quentin de La Tour, is historically renowned for pastels, but this specific work is identified as oil. The recreation must therefore rely on general oil painting practices of the period, particularly the methods of the 'old masters' who frequently employed glazing and scumbling techniques to achieve depth and luminosity, rather than the opaque mixing common in later modern practices (Source 1).
estimated time
40-60 hours over 8-12 sessions
materials
8 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Linseed oil | Primary drying oil for binding pigments; general purpose medium. | Refined linseed oil |
| Oil of Copavia | Historical medium used by Sir Joshua Reynolds for first and second paintings; provides a slow-drying, non-yellowing vehicle. | Stand oil or damar varnish mixed with turpentine (as a substitute for historical copal/copavia resins) |
| Lead White | Dominant white pigment for centuries due to opacity and fast drying; essential for highlights and flesh tones. | Titanium White (note: lacks the transparency and drying speed of lead white) or Flake White (if accessible) |
| Ultramarine | Used in the initial monochrome underpainting (grisaille) alongside black and white. | Ultramarine Blue |
| Black (Ivory or Lamp Black) | Used in the initial monochrome underpainting to establish values. | Ivory Black |
| Red Ochre / Yellow Ochre | Earth pigments for broken tones and flesh coloring; noted as sufficient for many tones and possessing good covering qualities. | Natural Red Ochre, Yellow Ochre |
| Vermilion (Cinnabar) | Historical red pigment for vibrant tones, such as military uniform accents. | Cadmium Red or Quinacridone Red (non-toxic substitutes) |
| Canvas or Panel | Support for the oil painting. | Linen canvas primed with gesso |
preparation
surface prep
Prepare a rigid support (panel or stretched canvas) with a white or light-toned ground. While the specific ground for La Tour is not detailed in the sources, the technique of glazing over a grisaille requires a stable, non-absorbent surface. The sources note that old masters often worked on grounds that allowed for transparent layers (Source 1). Ensure the surface is smooth to facilitate the fine finish typical of Rococo portraiture.
underdrawing
The sources do not specify La Tour’s underdrawing method for oil works. However, general practice for this period involves a light charcoal or thinned oil sketch to establish proportions. Given the emphasis on 'sound craftsmanship' and reducing thoughts to words (Source 6), a precise initial drawing is likely necessary to ensure the likeness, which is the primary intent of portrait painting (Source 5).
underpainting
Execute a monochrome underpainting (grisaille) using black, ultramarine, and white mixed with oil of copavia or linseed oil (Source 1). This step involves 'mentally extracting the red and yellow colours' to establish the value structure of the portrait (Source 1). This grisaille must be allowed to dry completely before proceeding to color layers. This method is attributed to Sir Joshua Reynolds and noted as a practice of the 'old masters' (Source 1).
color palette
Monochrome Underpainting
Black, Ultramarine, White
Establishing values and forms in the grisaille stage (Source 1).
Flesh Tones
Lead White, Red Ochre, Yellow Ochre, Vermilion
General use in this artist's palette; flesh colors are fixed by the model but require careful handling of inherent colors (Source 4, Source 2).
Military Uniform Accents
Vermilion, Ultramarine, Lead White
Adding brilliancy and harmony to the clothing, ensuring the colors do not appear antiquated (Source 3).
Shadows and Depth
Ultramarine, Black, Burnt Umber
Creating chiaroscuro and gradation of light through juxtaposition (Source 2).
composition
The composition likely emphasizes the sitter's status as a Lieutenant General. While specific layout details are not in the sources, portrait painting aims to achieve a recognizable likeness and serve as a record of appearance (Source 5). The arrangement of colors should consider the law of simultaneous contrast, where juxtaposed colors influence each other's tone and brilliance, ensuring harmony in the military uniform and background (Source 2, Source 3).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the likeness of the Marquis de Voyer d'Argenson, focusing on accurate proportions and facial features to ensure a recognizable record.
Tip — Ensure the likeness is accurate, as this is the primary intent of the genre (Source 5).
Portrait Drawing
underpainting
step 02
Mix black, ultramarine, and white with oil of copavia (or a suitable modern resin medium) to create a grisaille. Paint the entire composition in monochrome, establishing all light and shadow values.
Tip — Mentally extract red and yellow colors, focusing only on value structure (Source 1).
Grisaille
first pass
step 03
Once the grisaille is completely dry, begin glazing and scumbling with oil. Apply transparent coats of color (glazing) and semi-opaque layers (scumbling) to introduce red and yellow tones.
Tip — Treat the process like tinting an engraving with watercolors, building up color gradually (Source 1).
Glazing and Scumbling
refining
step 04
Refine the flesh tones and uniform details. Use the law of contrast to enhance the brilliance of the military colors. Juxtapose tones to create a true gradation of light and chiaroscuro.
Tip — Be aware that placing a high-tone band next to a low-tone band will insensibly enfeeble the high tone and heighten the low tone (Source 2).
Simultaneous Contrast
finishing
step 05
Add final highlights and details to the uniform and face. Ensure the colors inherent to the model (flesh, eyes, hair) are rendered accurately, while choosing draperies and background colors to harmonize with the composition.
Tip — Select color associations that impart brilliancy and harmony, preventing the work from appearing antiquated (Source 3).
Color Harmony
varnishing
step 06
Apply a final varnish to protect the painting and unify the surface gloss, especially if glazes were used with varnish and oil mixed.
Tip — Ensure all layers are fully dry to prevent cracking or yellowing.
Varnishing
critical techniques
Glazing and Scumbling
A transparent coat of color (glazing) and semi-opaque painting (scumbling) over a dry grisaille. This method was practiced by old masters to achieve depth and luminosity, contrary to modern prejudices against it (Source 1).
Simultaneous Contrast
Using the juxtaposition of different tones and colors to create chiaroscuro and gradation of light. This principle helps in harmonizing colors inherent to the object (like flesh) with chosen colors (like draperies) (Source 2).
Color Selection for Portraiture
Selecting color associations for clothing that impart brilliancy and harmony, ensuring the portrait remains aesthetically pleasing even when fashion changes (Source 3).
common pitfalls
- →Applying color before the grisaille is completely dry, which can muddy the transparent layers (Source 1).
- →Ignoring the law of simultaneous contrast, leading to flat or disharmonious color juxtapositions (Source 2).
- →Over-modeling or being too tied down to the outline, which can result in a small, timid appearance rather than broad, confident masses (Source 6).
- →Using pigments that are not substantial or fixed, leading to chemical reactions or fading (Source 4).
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.
- ·The specific visual details of the Marquis de Voyer d'Argenson's uniform, facial expression, and pose are not described in the sources.
- ·Maurice Quentin de La Tour's specific oil painting technique is not detailed; the guide relies on general 'old master' practices and Reynolds' methods as proxies.
- ·The exact date of the painting is not available, making it difficult to pinpoint specific period conventions beyond general Rococo traits.
- ·The specific background and setting of the portrait are 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 (grisaille), glazing, scumbling, and medium selection (oil of copavia).
- ON COPYING — applied to General craftsmanship advice and avoiding over-modeling.
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color theory, chiaroscuro, and gradation of light.
- 492. In explaining the applications... — applied to Color selection for military uniforms and portrait harmony.
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Pigment selection and historical context of materials.
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, intent of likeness, and historical role of portraits.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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