plate no. 0712

Portrait of Alexander Hood, 1st Viscount Bridport

oilRococoportraitportraitfiguremilitary uniformmedalmanhistorical

recreation guide

This recreation guide focuses on the technical execution of an oil portrait in the style of Lemuel Francis Abbott, a prominent British portraitist of the late 18th and early 19th centuries. While the specific visual details of 'Portrait of Alexander Hood, 1st Viscount Bridport' are not described in the provided sources, the guide relies on the documented practices of oil painting from this era, particularly the methods associated with Sir Joshua Reynolds and the 'old masters' whose techniques Abbott would have studied or emulated. The process emphasizes the separation of value structure (grisaille) from color application (glazing and scumbling), a method cited as standard among old masters and explicitly recommended by Reynolds (Source 1). The portrait genre aims to capture the 'inner essence' and character of the sitter, often resulting in a serious, composed expression where the eyes and eyebrows convey the primary emotional content (Source 7).

estimated time

20-30 hours over 5-7 sessions, allowing for drying times between the monochrome underpainting and the glazing layers.

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Linseed oil or Poppy seed oil	Primary binder for pigments; linseed for general use, poppy for lighter tones to reduce yellowing.	Refined linseed oil or cold-pressed poppy oil
Oil of Copavia (or modern substitute like Walnut Oil)	Medium for the first and second paintings, as specified by Reynolds' method.	Walnut oil or a non-yellowing alkyd medium
Turpentine	Thinner for initial washes and glazes.	Odorless mineral spirits (OMS)
Pigments: Black, Ultramarine, White, Red Ochre/Yellow Ochre	Core palette for the grisaille (black, ultramarine, white) and subsequent glazing (reds and yellows).	Ivory Black, Ultramarine Blue, Titanium White, Cadmium Red/Yellow or Earth tones
Varnish (Resin-based)	Mixed with oil for later glazing stages to increase transparency and flow.	Dammar varnish or synthetic resin varnish

preparation

surface prep

Prepare a rigid support such as a wood panel or primed canvas. The surface should be smooth to facilitate the fine finish typical of portrait painting. While specific priming recipes for Abbott are not in the sources, the tradition of oil painting on wood or canvas is well-established (Source 3). Ensure the ground is neutral or slightly warm to aid in value judgment during the grisaille stage.

underdrawing

Begin with a careful drawing of the sitter's features. In portrait painting, the accuracy of the likeness is paramount, requiring distinct skills acquired over time (Source 5). Focus on the eyes and eyebrows, as these areas register the most complete information about the subject's character and expression (Source 7). The drawing should establish the 'three-quarter view' or frontal pose typical of formal portraits, ensuring the composition balances the positive space of the figure with the negative space of the background (Source 6, Source 7).

underpainting

Execute a grisaille (monochrome underpainting) using black, ultramarine, and white mixed with oil of copavia (Source 1). This stage establishes the full range of light to dark values. Mentally extract red and yellow colors, translating what would remain in nature if those colors were absent (Source 1). This monochrome layer must be completely dry before proceeding to color application.

color palette

Black

Ivory Black or Lamp Black

Grisaille shadows and mid-tones

Ultramarine

Natural Ultramarine

Cool shadows and atmospheric depth in the grisaille

White

Lead White (historical) or Titanium White (modern)

Highlights and value adjustment in grisaille

Red/Yellow Tones

Red Ochre, Vermilion, Yellow Ochre, or Cadmiums

Glazing and scumbling to introduce flesh tones and warmth

composition

The composition likely follows standard portrait conventions, focusing on the head and shoulders or half-length view (Source 7). The arrangement should emphasize the sitter's character and moral quality rather than temporary expressions (Source 7). Use the elements of design—line, shape, value, and texture—to organize the visual path, ensuring the eye moves naturally to the face, particularly the eyes (Source 6, Source 7). The background should be chosen to harmonize with the inherent colors of the flesh and drapery, possibly using contrast laws to enhance the subject's prominence (Source 8).

step by step

underdrawing→underpainting→first pass→drying→refining→finishing

underdrawing

step 01
Draw the sitter's features carefully, focusing on the eyes and eyebrows to capture character.
Tip — Ensure the likeness is recognizable; the eyes are the most reliable source of information about the subject (Source 7).
Portrait Drawing

underpainting

step 02
Mix black, ultramarine, and white with oil of copavia. Paint the full tonal range of the portrait in monochrome (grisaille).
Tip — Mentally exclude red and yellow colors, focusing solely on value structure (Source 1).
Grisaille

first pass

step 04
Apply transparent glazes of red and yellow tones over the grisaille using oil. Treat this like tinting an engraving with watercolors.
Tip — Glazing is a transparent coat of color that allows the underlying values to show through (Source 1).
Glazing

drying

step 03
Allow the grisaille to dry completely. This may take several days to weeks depending on thickness and environment.
Tip — Do not proceed to glazing until the underpainting is hard to the touch to prevent muddying.
Drying

refining

step 05
Use scumbling (semi-opaque painting) to adjust tones, particularly over darker grounds to create coldness or grey blooms if needed.
Tip — Scumbling allows the underlying painting to make itself felt, adding texture and complexity (Source 1).
Scumbling

finishing

step 06
Once mastery is gained, mix varnish with oil for final glazes to enhance depth and richness.
Tip — This method was practiced by old masters and Reynolds to achieve rich, dense color (Source 1, Source 3).
Varnish Glazing

critical techniques

Glazing and Scumbling

Used to separate value structure (grisaille) from color application. Glazing adds transparent color, while scumbling adds semi-opaque texture. This method was common among old masters and Reynolds (Source 1).

Grisaille Underpainting

A monochrome layer using black, ultramarine, and white to establish form and light before color is introduced. This ensures accurate value relationships (Source 1).

Character Portrayal

Focusing on the eyes and eyebrows to convey inner essence and moral quality, avoiding fleeting expressions (Source 7).

common pitfalls

→Applying color before the grisaille is completely dry, which can lift the underpainting and muddy the colors (Source 1).
→Over-modeling or becoming too tied to the outline, which can result in a stiff or 'small' appearance. Copying works like Reynolds' 'Portraits of Two Gentlemen' can help correct this (Source 2).
→Ignoring the law of simultaneous contrast, which can cause colors to appear different than intended when placed next to each other (Source 8).
→Failing to capture the 'inner significance' of the sitter, resulting in a mere literal likeness rather than a character study (Source 7).

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 Alexander Hood's attire, pose, or background are not described in the sources and must be inferred from historical records or the original painting.
·Lemuel Francis Abbott's specific palette preferences beyond general 18th-century practices are not detailed in the provided texts.
·The exact dimensions and support material (canvas vs. panel) of the original artwork are not specified.

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 technique, glazing, scumbling, and Reynolds' method
- ON COPYING — applied to Advice on correcting over-modeling and improving finish
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color harmony and contrast principles

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 General oil painting properties, materials, and layering advantages
Wikipedia: Portrait painting↗
- Portrait painting — part 2 — applied to Character portrayal, expression, and focus on eyes/eyebrows

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

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