plate no. 8448

Maria Carolina de Borbó Dues Sicílies

oilNeoclassicismportraitportraitfiguredresslandscapeflowerssky

recreation guide

This artwork is a portrait of Maria Carolina de Borbó Dues Sicílies by Franz Xaver Winterhalter, executed in oil. Winterhalter’s style during this period is characterized by a 'suave, cosmopolitan and plausible' aesthetic that matched the luxury and relaxed atmosphere of the Second Empire (Source 1). His portraits are noted for being 'elegant, refined, lifelike, and pleasantly idealized,' often combining likeness with flattery to create the image the sitter wished to project (Source 1, Source 4). While his early affinities were Neoclassical, his mature style is often described as Neo-Rococo, distinguished by a virtuoso attention to the texture of fabrics, furs, and jewelry, which he treated with no less importance than the face (Source 1). The work likely exhibits the 'subtle intimacy' and theatrical composition for which Winterhalter was prized by aristocratic patrons, despite criticism from serious critics who accused him of superficiality (Source 1).

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints	Primary medium for the portrait	—
Canvas	Support for the painting	Linen or cotton canvas, primed
Oil of copavia (or modern damar/resin varnish)	Medium for glazing and scumbling, as referenced in historical practice	Linar oil or stand oil mixed with a small amount of resin varnish
Black, Ultramarine, White	Base colors for the initial monochrome underpainting (grisaille)	Ivory Black, Ultramarine Blue, Titanium White
Red and Yellow tones	For glazing and scumbling over the dry grisaille to introduce color	Transparent reds (e.g., Alizarin Crimson) and yellows (e.g., Yellow Ochre or Cadmium Yellow)

preparation

surface prep

Prepare a standard oil-primed canvas. Winterhalter painted directly onto the canvas, designing compositions directly on the surface (Source 1). Ensure the ground is smooth to facilitate the 'glossy' and refined finish characteristic of his Neo-Rococo style (Source 1).

underdrawing

Winterhalter is thought to have painted directly onto the canvas without making preliminary studies, relying on his practiced skill in drawing and representing figures (Source 1). Therefore, minimal underdrawing is recommended; instead, sketch the composition lightly with thinned paint or charcoal directly on the primed surface, focusing on the 'theatrical compositions' and pose he frequently decided upon for his sitters (Source 1).

underpainting

Employ a grisaille (monochrome underpainting) using black, ultramarine, and white, mixed with oil of copavia (or a modern equivalent medium). This technique, attributed to Sir Joshua Reynolds but consistent with the 'old masters' practice of glazing and scumbling, involves creating a value structure before adding color (Source 3). This allows for the extraction of red and yellow tones initially, translating what would be left in nature if those colors were not present (Source 3).

color palette

Black

Ivory Black

Grisaille underpainting for shadows and structure

Ultramarine

Ultramarine Blue

Grisaille underpainting for cool shadows and depth

White

Lead White or Titanium White

Grisaille underpainting for highlights and mid-tones

Red Tones

Transparent reds

Glazing and scumbling to introduce warmth and flesh tones

Yellow Tones

Transparent yellows

Glazing and scumbling to introduce warmth and highlights

composition

Winterhalter was skilled at posing sitters to create 'almost theatrical compositions' (Source 1). He frequently decided upon the dress and pose of the sitter, aiming for a 'suave, cosmopolitan and plausible' style (Source 1). The composition should emphasize the sitter's status and elegance, likely featuring a relaxed atmosphere consistent with the hedonism and gaiety of the age (Source 1). Avoid overly rigid or reserved poses; Winterhalter’s female sitters of the 1850s and 1860s inhabited a 'different physiological climate' that was not reticent (Source 1).

step by step

underdrawing→underpainting→refining→finishing

underdrawing

step 01
Lightly sketch the pose and composition directly on the canvas. Focus on the theatricality and elegance of the pose, as Winterhalter often decided the pose himself (Source 1).
Tip — Ensure the pose conveys the 'relaxed atmosphere' and 'gaiety' associated with his Second Empire portraits (Source 1).
Direct drawing

underpainting

step 02
Mix black, ultramarine, and white with oil of copavia (or modern equivalent) to create a grisaille. Paint the full value structure of the portrait, focusing on form and light.
Tip — Mentally extract red and yellow colors, painting only the values that would remain if those colors were absent (Source 3).
Grisaille

refining

step 03
Allow the grisaille to dry completely. Then, apply transparent glazes of red and yellow tones using oil and varnish mixed as a medium. This mimics the tinting of an engraving with watercolors (Source 3).
Tip — Use glazing to build up luminosity and color depth without muddying the underlying values.
Glazing
step 04
Apply semi-opaque scumbles over the glazes, particularly over darker grounds, to introduce coldness or grey blooms where needed (Source 3).
Tip — Scumbling allows the underlying painting to show through, creating complex color interactions.
Scumbling

finishing

step 05
Pay meticulous attention to the texture of fabrics, furs, and jewelry, treating them with the same virtuosity as the face (Source 1). Paint rapidly and fluently, as Winterhalter designed most compositions directly on the canvas (Source 1).
Tip — Aim for a 'glossy' and 'superficial' finish that critics noted, but which patrons prized for its elegance and idealization (Source 1).
Direct painting

critical techniques

Glazing and Scumbling

Used to build color over a dry grisaille underpainting. Glazing involves transparent coats of color, while scumbling involves semi-opaque painting that allows the underlayer to show through (Source 3).

Direct Painting

Winterhalter painted directly onto the canvas without preliminary studies, relying on his fluency and speed (Source 1).

Texture Rendering

Virtuoso attention to the texture of fabrics, furs, and jewelry, which were given equal importance to the face (Source 1).

common pitfalls

→Avoid mixing colors on the palette when glazing; instead, apply transparent layers to allow optical mixing and luminosity (Source 3).
→Do not overwork the paint; Winterhalter painted 'very rapidly and very fluently,' so maintain a loose, confident hand (Source 1).
→Avoid making the sitter appear 'reticent and reserved'; Winterhalter’s later female sitters were characterized by a more relaxed and less reserved demeanor (Source 1).
→Do not neglect the details of clothing and jewelry; these were central to Winterhalter’s appeal and virtuosity (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 Maria Carolina de Borbó Dues Sicílies' attire, jewelry, or background are not described in the sources, so these must be inferred from general knowledge of Winterhalter's style or historical records not provided here.
·The exact year of the painting is not available, so the specific phase of Winterhalter's career (early Neoclassical vs. later Neo-Rococo) is inferred from the general description of his style.
·The specific dimensions of the canvas are not provided, which would affect the scale of brushwork.

grounded in

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

The Practice of Oil Painting — COLOURING A MONOCHROME↗
- Glazing and Scumbling — applied to Underpainting, color palette, step-by-step process (grisaille, glazing, scumbling)

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia bio — Franz Xaver Winterhalter — part 6↗
- Style and Method — applied to Overview, composition notes, step-by-step process (direct painting, texture rendering)
Wikipedia bio — Franz Xaver Winterhalter — part 3↗
- Court Painter — applied to Overview (flattery, likeness, aristocratic patronage)

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

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