plate no. 8812

Portrait of a Young Woman

oil, canvasNeoclassicismportraitportraitwomandresschairdraperyfigure

recreation guide

Angelica Kauffman’s 'Portrait of a Young Woman' (1781) represents the intersection of her dual identity as a history painter and a skilled portraitist. While Kauffman identified primarily with history painting—a genre considered the most elite in academic theory, requiring extensive knowledge of anatomy and classical literature (Source 8)—she applied these rigorous standards to portraiture. The work likely exhibits the 'grace, elegance and accuracy' noted in her allegorical series 'The Elements of Art' (Source 8). As a founding member of the Royal Academy, Kauffman operated within a framework that valued sound craftsmanship and the 'alphabet of our art' (Source 1). The painting is executed in oil on canvas, adhering to the Neoclassical style prevalent in her London period, characterized by a disciplined approach to form and color theory.

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (White Lead, Ultramarine, Ochres, Vermilion)	Primary medium for underpainting and glazing	Titanium White (for safety, though Lead White is historical), Ultramarine Blue, Yellow Ochre, Cadmium Red or Vermilion
Oil of Copavia or Linseed Oil	Medium for mixing paints, as cited in Reynolds' method which influenced the Academy	Stand Oil or Linseed Oil
Canvas	Support for the oil painting	Linen canvas, primed
Varnish	For glazing and final protection	Dammar Varnish

preparation

surface prep

The canvas should be prepared with a ground suitable for oil painting. While specific priming recipes for this exact portrait are not detailed in the sources, Kauffman’s association with the Royal Academy suggests adherence to standard 18th-century practices. Sir Joshua Reynolds, a contemporary and fellow founder, described his method using oil of copavia as a medium (Source 5). The surface should be smooth to allow for the 'finish' and 'accuracy' characteristic of Kauffman’s work (Source 8).

underdrawing

Kauffman’s training involved extensive copying of masters like Raphael and Guido Reni to learn anatomy and design (Source 8). It is likely that a precise underdrawing was made to ensure the 'correctness' of the figure, consistent with the academic emphasis on design. However, specific details of the underdrawing for this portrait are not preserved in the sources.

underpainting

A grisaille (monochrome underpainting) is a likely technique, given the academic tradition of the time. Source 5 describes a method where a grisaille is created by 'mentally extracting the red and yellow colours,' leaving the tonal structure. This aligns with the 'sound craftsman' approach advocated in Source 1, where broad masses are established before finish. Kauffman’s 'Elements of Art' series emphasizes 'Design' and 'Composition,' suggesting a strong structural underpainting phase.

color palette

White

White Lead (historical) or Titanium White

Highlights and mixing, as part of the basic palette mentioned by Reynolds (Source 5)

Ultramarine

Ultramarine Blue

Shadows and cool tones, cited in Reynolds' method (Source 5)

Ochres

Yellow Ochre, Natural and Burnt Ochres

Skin tones and earth tones, described as 'quite sufficient for broken tones' and 'fixedness' (Source 4)

Red

Vermilion or Red Lac

Flesh tones and accents, extracted in the grisaille phase and added via glazing (Source 5)

Black

Ivory Black or Vine Black

Dark values and shadows, part of Reynolds' basic palette (Source 5)

composition

Specific compositional details of 'Portrait of a Young Woman' are not described in the sources. However, Kauffman’s work is characterized by 'grace, elegance and accuracy' (Source 8). As a history painter, she likely applied principles of 'Design' and 'Composition' (Source 8) to the portrait, ensuring a balanced and dignified presentation. The portrait aims to achieve a 'likeness of the sitter that is recognisable' (Source 3), serving as a record of appearance.

step by step

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

underdrawing

step 01
Transfer the design to the canvas with precision, focusing on the correct proportions and anatomy, informed by Kauffman’s study of classical masters.
Tip — Ensure the outline is accurate, as Kauffman was known for accuracy (Source 8).
Academic Drawing

underpainting

step 02
Create a grisaille underpainting using black, white, and ultramarine (or similar cool tones) to establish the tonal values. Mentally extract red and yellow colors as per the method described.
Tip — Focus on the 'broad masses' and tonal structure before adding color (Source 1, Source 5).
Grisaille

first pass

step 03
Once the grisaille is dry, begin glazing and scumbling. Apply transparent coats of color (glazing) and semi-opaque layers (scumbling) to introduce red and yellow tones.
Tip — Use oil of copavia or linseed oil as a medium. Be mindful of 'simultaneous contrast of colours' to ensure accurate color perception (Source 2).
Glazing and Scumbling

refining

step 04
Refine the likeness and details. Adjust colors based on the law of simultaneous contrast, ensuring that contiguous colors do not distort the intended hues.
Tip — Check for 'modifications of tone and of colour which they receive from contiguous colours' (Source 2).
Color Correction

finishing

step 05
Complete the painting with fine details, ensuring the 'finish' is achieved without becoming 'too much tied down to your outline' (Source 1).
Tip — Avoid 'smallness' and ensure the work retains the 'grace and elegance' characteristic of Kauffman (Source 8).
Finishing

varnishing

step 06
Apply a final varnish to protect the painting and unify the surface.
Tip — Ensure the painting is completely dry before varnishing.
Varnishing

critical techniques

Glazing and Scumbling

Used to build up color and luminosity over a monochrome underpainting. This method was 'practised by the old masters far more generally' than modern painters assume (Source 5).

Simultaneous Contrast of Colours

Understanding how adjacent colors affect each other’s appearance is crucial for accurate color mixing and perception, especially in portraiture where skin tones are subtle (Source 2).

Academic Design

Kauffman’s background in history painting required a strong foundation in design and composition, which she applied to her portraits to achieve 'accuracy' and 'elegance' (Source 8).

common pitfalls

→Becoming 'too much tied down to your outline' and failing to depart from it, leading to a stiff appearance (Source 1).
→Over-modeling or falling into 'smallness,' which detracts from the broad masses and overall harmony (Source 1).
→Ignoring the effects of simultaneous contrast, leading to inaccurate color perception and muddy tones (Source 2).
→Using colors that are not 'substantial' or fixed, which may change over time (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.

·Specific visual details of the 'Portrait of a Young Woman' (e.g., clothing, background, facial expression) are not described in the sources.
·The exact palette used by Kauffman for this specific painting is not documented; the palette is inferred from general 18th-century practices and Reynolds' methods.
·The specific underdrawing technique (e.g., charcoal, chalk, ink) is not specified.
·The exact drying times and number of glazing layers are not detailed.

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 broad masses, avoiding smallness, and the importance of sound craftsmanship (Source 1).
- COLOURING A MONOCHROME — applied to Technique of grisaille underpainting and glazing/scumbling (Source 5).
Laws of Contrast of Colour↗
- 315-318 — applied to Understanding simultaneous contrast and mixed contrast for accurate color perception (Source 2).
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Use of earths, ochres, and fixed colors for stability (Source 4).

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 Context of portraiture as a record of likeness and appearance (Source 3).
Wikipedia bio — Angelica Kauffman↗
- part 1 and part 4 — applied to Kauffman’s identity as a history painter, her academic training, and the characteristics of her work (Source 7, 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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