plate no. 2326

Mrs. Sarah Clayton

oil, canvasBaroqueportraitportraitfigurelacetabledresssheet music

recreation guide

Joseph Wright of Derby’s *Mrs. Sarah Clayton* (1769) is a portrait that exemplifies the transition from Baroque dramatic lighting to the more naturalistic, yet still theatrical, style of the late 18th century. While the specific visual details of Mrs. Clayton’s attire and pose are not described in the provided sources, Wright is historically known for his mastery of chiaroscuro and his interest in the scientific observation of light. The recreation of this work should focus on the structural integrity of the portrait genre, aiming for a likeness that serves as a record of the sitter, consistent with the period’s intent for portraiture (Source 6). The painting likely employs a methodical approach to color and light, utilizing the principles of simultaneous contrast and glazing to achieve depth and realism, techniques that were standard among the 'old masters' whose methods Wright would have studied or emulated (Source 2).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Red Ochre, Yellow Ochre, Vermilion)	Primary palette for grisaille and glazing layers	—
Oil of Copavia (or modern stand oil/linseed oil blend)	Medium for glazing and scumbling, as cited in Reynolds' method which reflects the period's practice	Stand oil or walnut oil
Canvas	Support for the oil painting	Linen or cotton canvas, primed
Varnish	For mixing with oil in later glazing stages to gain mastery over transparency	Dammar varnish

preparation

surface prep

The canvas should be prepared with a ground that allows for the 'glazing and scumbling' techniques described in the sources. While Wright’s specific ground is not detailed, the period practice involved a stable, often white or light-toned ground to facilitate the layering of transparent colors. The surface must be smooth enough to allow for the 'semi-opaque painting' of scumbling, where the underlying painting makes itself felt (Source 2).

underdrawing

The sources do not specify Wright’s underdrawing technique. However, given the emphasis on 'broad masses' and the risk of being 'too much tied down to your outline,' the underdrawing should be loose and focused on major forms rather than fine details (Source 1). It is likely that Wright used a charcoal or thinned oil sketch to establish the composition and light structure before applying paint.

underpainting

A monochrome underpainting (grisaille) is recommended, as described in Source 2. This layer should establish the values of the portrait, mentally extracting red and yellow colors to focus on form and light. This technique was 'practised by the old masters far more generally' and is essential for achieving the depth and 'chiaro-scuro' effects characteristic of Wright’s style (Source 2, Source 4).

color palette

Ultramarine

Pure ultramarine

Shadows and cool tones in the grisaille and glazing layers

White

Lead white or titanium white

Highlights and mixing with ultramarine/black for the grisaille

Black

Ivory black or lamp black

Deep shadows and defining contours in the underpainting

Red and Yellow tones

Vermilion, red ochre, yellow ochre

Glazing and scumbling over the dry grisaille to add warmth and flesh tones

composition

The composition should adhere to the principles of portrait painting, aiming for a recognizable likeness of the sitter (Source 6). Wright’s style often involved dramatic lighting, so the composition should emphasize the contrast between light and dark areas. The use of 'chiaro-scuro' is produced by the juxtaposition of tones, where the highest tone is enfeebled and the lowest heightened, creating a true gradation of light (Source 4). The background should be chosen to harmonize with the flesh tones, potentially using complementary colors to enhance the vibrancy of the subject (Source 3).

step by step

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

underdrawing

step 01
Sketch the basic forms of the sitter and background loosely, focusing on major masses rather than fine details.
Tip — Avoid being 'too much tied down to your outline' to prevent a timid or over-modeled result (Source 1).
Loose underdrawing

underpainting

step 02
Create a grisaille using black, ultramarine, and white. Establish the full range of values, from deepest shadows to brightest highlights.
Tip — Mentally extract red and yellow colors, focusing on what would be left in nature if these colors were not present (Source 2).
Grisaille

first pass

step 03
Allow the grisaille to dry completely. Begin glazing with oil and red/yellow tones to add color to the flesh and drapery.
Tip — Apply transparent coats of color, similar to tinting an engraving with watercolors (Source 2).
Glazing

refining

step 04
Use scumbling to add semi-opaque layers, particularly in highlights and areas where the underlying tone should show through.
Tip — Be aware that scumbling over a darker ground tends to coldness, which can be used to create a 'grey bloom' effect (Source 2).
Scumbling

finishing

step 05
Adjust the color harmony by surrounding intense colors with their complements to increase brilliancy, or with similar colors to soften them.
Tip — If flesh tones are too red, surround them with green tones to make them appear redder, or use a red background to normalize pale tones (Source 3).
Simultaneous Contrast

varnishing

step 06
Apply a final varnish to protect the painting and unify the glazes.
Tip — Ensure all layers are completely dry before varnishing to prevent cracking.
Varnishing

critical techniques

Glazing and Scumbling

Used to build up color and depth over a monochrome underpainting. Glazing involves transparent coats, while scumbling is semi-opaque, allowing the underlayer to show through. This method was common among old masters and is essential for achieving the luminous quality of Wright’s portraits (Source 2).

Chiaro-scuro

The juxtaposition of light and dark tones to create a gradation of light. This technique enhances the three-dimensionality of the form and is a hallmark of Wright’s dramatic style (Source 4).

Simultaneous Contrast

Using complementary colors to modify the appearance of adjacent colors. For example, placing red next to green makes the red appear more intense. This principle helps in achieving color harmony and vibrancy in the portrait (Source 3).

common pitfalls

→Being 'too much tied down to your outline' or 'inclined to over-model,' which can result in a stiff and lifeless portrait (Source 1).
→Neglecting the drying time of the grisaille layer, which can lead to muddiness when glazing (Source 2).
→Ignoring the effects of simultaneous contrast, leading to flat or discordant colors (Source 3).
→Overusing scumbling over dark grounds, which can create an unintended coldness or 'grey bloom' (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 Mrs. Clayton’s clothing, jewelry, and pose are not described in the sources and must be inferred from the original artwork or other historical records.
·Wright’s exact pigment palette for this specific painting is not detailed; the suggested palette is based on general 18th-century practices and the sources provided.
·The specific background elements and their symbolic meaning are not covered in the sources.

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 Underdrawing and avoiding over-modeling
- COLOURING A MONOCHROME — applied to Grisaille, glazing, and scumbling techniques
The Science of Painting↗
- 4. When two colours separated by more than two others — applied to Simultaneous contrast and color harmony
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints of different tones of the same — applied to Chiaro-scuro and tonal gradation