plate no. 1915
Portrait of Benvenuti Gonzalez del Campillo
Carlos Saenz de Tejada, 1920
recreation guide
This recreation guide addresses the painting of a 1920 Expressionist portrait by Carlos Saenz de Tejada. While specific visual details of the sitter Benvenuti Gonzalez del Campillo are not described in the provided sources, the guide relies on the artist’s stylistic classification as an Expressionist and the general practices of oil painting from that era. The approach emphasizes the structural integrity of the portrait through a monochrome underpainting (grisaille), followed by the application of transparent glazes and semi-opaque scumbles to achieve the characteristic color intensity and emotional resonance of Expressionism. The process draws upon historical techniques of layering, where the artist mentally extracts red and yellow tones for the final glazing stage, ensuring that the underlying form supports the vibrant surface colors.
estimated time
20-30 hours over 5-7 sessions (allowing for drying time between glaze layers)
materials
5 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White Lead/Titanium White, Black, Yellow Ochre, Red Ochre, Vermilion/Cinnabar) | Primary palette for grisaille and glazing | Titanium White is a modern substitute for White Lead; Cadmium Red/Yellow may substitute for historical lakes if stability is a concern, though traditional lakes are preferred for transparency. |
| Oil of Copavia or Linseed Oil | Medium for the first and second paintings as per Reynolds' method cited in sources | Stand oil or refined linseed oil |
| Varnish | Mixed with oil for later glazing stages to increase transparency and flow | Dammar varnish or synthetic resin varnish |
| Canvas or Panel | Support for the oil painting | Linen canvas primed with gesso |
| Charcoal or Graphite | Underdrawing | Vine charcoal |
preparation
surface prep
Prepare a rigid or stretched canvas support. Given the emphasis on 'sound craftsmanship' and the potential for glazing, the surface should be smooth but not overly glossy to allow for good tooth. The sources suggest a respect for the material's capacity, avoiding 'meretricious attempts to deceive the eye' in favor of expressing feeling through the medium (Source 8).
underdrawing
Begin with a careful underdrawing. The sources emphasize that the painter must first be a 'sound craftsman' and that copying or studying from life helps correct weaknesses in outline or modeling (Source 6). For a portrait, accurate proportions are critical. Use charcoal or a thin wash to establish the form. Do not over-model at this stage; the goal is to establish the 'alphabet of our art' (Source 6).
underpainting
Execute a grisaille (monochrome underpainting). The source explicitly advises mentally extracting red and yellow colors, translating what would be left in nature if these two colors were not present (Source 1). Use black, ultramarine, and white (as per Sir Joshua Reynolds' method cited in Source 1) to build the full tonal range of the portrait. This layer establishes the light, shadow, and form. Ensure this layer is completely dry before proceeding.
color palette
Ultramarine
Pure pigment
Grisaille underpainting (shadows and mid-tones)
White (Lead/Titanium)
Pure pigment
Grisaille underpainting (highlights)
Black (Ivory/Grain)
Pure pigment
Grisaille underpainting (deep shadows)
Yellow Ochre
Earth pigment
General use in palette; potentially for scumbling or glazing flesh tones
Red Ochre / Vermilion
Earth or mineral pigment
Glazing and scumbling to introduce warmth and life to the flesh and clothing
Yellow/Red Lakes
Transparent organic pigments
Final glazing to achieve the 'yellow and red tones' extracted in the grisaille phase
composition
While the specific composition of this portrait is not detailed in the sources, Expressionist portraits often prioritize the 'harmonic arrangement of form and color' over strict realism (Source 5). The artist likely sought to express the 'soul' or emotional state of the sitter rather than just the 'luxury of personages' (Source 3). The composition should balance the inherent colors of the flesh with the chosen colors of the draperies and background, considering the law of simultaneous contrast where contiguous colors modify each other's appearance (Source 2).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the portrait lightly, focusing on accurate proportions and the 'broad masses' of the face and shoulders.
Tip — Avoid getting tied down to the outline too early; remain flexible for adjustments.
Drafting
underpainting
step 02
Paint the entire portrait in monochrome (grisaille) using black, ultramarine, and white. Mentally exclude red and yellow hues.
Tip — Ensure the tonal values are correct, as this layer supports the final color. Let it dry completely.
Grisaille
first pass
step 03
Apply the first glaze or scumble using oil of copavia or linseed oil. Introduce the yellow and red tones that were excluded in the grisaille.
Tip — Work transparently. The underlying grisaille should show through, modifying the color.
Glazing
refining
step 04
Use scumbling (semi-opaque painting) over darker grounds to create coldness or grey blooms if needed, or to soften transitions.
Tip — Be aware that scumbling over dark grounds tends to coldness; use this to balance warm glazes.
Scumbling
finishing
step 05
Apply subsequent glazes with a mixture of varnish and oil to gain mastery and depth. Adjust colors based on simultaneous contrast, ensuring that adjacent colors enhance rather than muddy each other.
Tip — Remember that the eye sees the result of a color and the complementary of the previously seen color; adjust for mixed contrast effects.
Varnish Glazing
varnishing
step 06
Once fully dry, apply a final protective varnish if desired, though the painting may already have sufficient depth from the oil/varnish glazes.
Tip — Ensure the painting is completely dry to prevent yellowing or cracking.
Final Varnishing
critical techniques
Grisaille Underpainting
Creating a monochrome base by excluding red and yellow, allowing the final color to be applied transparently over a fully resolved tonal structure.
Glazing and Scumbling
Glazing adds transparent color layers; scumbling adds semi-opaque layers. This method was practiced by old masters and allows for complex color interactions without muddying the paint.
Simultaneous Contrast
Adjusting colors based on their neighbors. The painter must perceive that colors appear modified by the complementary of adjacent colors, ensuring harmony and accurate perception of light.
common pitfalls
- →Over-modeling in the underdrawing phase, which can lead to a 'smallness' or lack of broad impact (Source 6).
- →Applying glazes before the grisaille is completely dry, which can lift the underpainting and ruin the tonal foundation (Source 1).
- →Ignoring the law of simultaneous contrast, leading to colors that appear dull or inaccurate because they have not been adjusted for the influence of adjacent hues (Source 2).
- →Attempting to create illusionistic deception rather than expressing feeling through the material, which is contrary to the vital expression of nature in oil painting (Source 8).
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 sitter Benvenuti Gonzalez del Campillo (clothing, expression, pose) are not described in the sources.
- ·Carlos Saenz de Tejada's specific personal palette or unique deviations from general Expressionist or Old Master techniques are not detailed in the provided texts.
- ·The exact dimensions and aspect ratio of the original artwork are not provided.
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 underpainting, glazing, and scumbling techniques
- ON COPYING — applied to Importance of craftsmanship and underdrawing
Laws of Contrast of Colour↗
- Simultaneous Contrast — applied to Color harmony and adjustment during glazing
The Practice and Science of Drawing↗
- MATERIALS — applied to Philosophy of using oil paint for expression rather than mere illusion
Read more about the corpus on the sources page and how the guides are built on the methods page.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
in this vein
related artworks
Dolly Sisters
Kees van Dongen
Nude with Loaves
Jean Helion
My Father
Carlos Botelho
Helen
Chronis Botsoglou
The portrait painter in the country
Albin Egger-Lienz
Marketta on Lázeňská street, Prague
Maria Bozoky
Winter at the Entrepotdok, in Amsterdam city
Paul Werner
Old Woman with Masks (Theatre of Masks)
James Ensor