plate no. 5806

Portrait of Eduardo Santonja Rosales

oilExpressionismportraitportraitfigureheadmanhairface

recreation guide

This recreation guide addresses the painting of a portrait in the style of Carlos Saenz de Tejada, an artist associated with Expressionism. While specific visual details of the 'Portrait of Eduardo Santonja Rosales' are not described in the provided sources, the technique relies on established oil painting practices relevant to the medium and the expressionist emphasis on color contrast. The process emphasizes the structural integrity of the underpainting and the optical effects of glazing and scumbling to achieve depth and tonal harmony, rather than relying solely on opaque mixing.

estimated time

20-30 hours over 5-7 sessions (allowing for drying times between glaze layers)

materials

6 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Linen canvas	Support for oil painting	Primed linen or cotton canvas
Linseed oil	General purpose drying oil for mixing paints and mediums	Refined linseed oil
Oil of Copavia (or Dammar resin)	Medium for initial layers to ensure fast drying and clarity	Dammar varnish or Galkyd medium
Black, Ultramarine, and White pigments	For the initial monochrome underpainting (grisaille)	Ivory black, Ultramarine blue, Titanium or Zinc white
Red and Yellow earth pigments (Ochres, Siennas)	For glazing and scumbling to introduce color	Yellow Ochre, Raw Sienna, Burnt Umber
Safflower or Poppyseed oil	For mixing lighter colors to prevent yellowing	Safflower oil medium

preparation

surface prep

Prepare a linen support, as linen is a traditional support derived from the flax plant, consistent with historical oil painting practices (Source 3). The surface should be primed to accept oil paints. While the specific ground color for Saenz de Tejada is not detailed, a neutral or toned ground is typical for expressionist works to facilitate the perception of light and shadow.

underdrawing

The sources do not specify Saenz de Tejada’s underdrawing method. However, general advice suggests that a sound craftsman must first master the 'alphabet' of the art, implying a careful initial layout (Source 5). Use charcoal or thinned oil to establish the likeness, ensuring the proportions are correct before applying paint, as likeness is the primary intent of portrait painting (Source 8).

underpainting

Execute a monochrome underpainting (grisaille) using black, ultramarine, and white mixed with oil of copavia (Source 1). This layer establishes the values and forms without the distraction of color. This method is attributed to Sir Joshua Reynolds and is recommended for establishing a solid foundation (Source 1). Allow this layer to dry completely before proceeding.

color palette

Monochrome Base

Black, Ultramarine, White

Underpainting to establish form and value

Warm Glazes

Red and Yellow earth tones (Ochres, Siennas)

Glazing over the dry grisaille to introduce flesh tones and warmth

Cool Scumbles

Grey or diluted cool tones

Scumbling over darker areas to create coldness or grey blooms, enhancing contrast

composition

The composition should focus on the inherent colors of the model, such as flesh, eyes, and hair, which are fixed by the subject (Source 6). The artist has freedom in choosing the background and draperies to harmonize with the figure. In the expressionist style, attention should be paid to the law of simultaneous contrast, where adjacent colors influence each other’s appearance, allowing the artist to enhance the emotional impact through color juxtaposition rather than strict realism (Source 2).

step by step

underdrawing→underpainting→refining→finishing

underdrawing

step 01
Sketch the portrait on the prepared canvas, focusing on accurate likeness and proportion.
Tip — Ensure the likeness is recognizable, as this is the primary goal of portraiture (Source 8).
Preparatory drawing

underpainting

step 02
Mix black, ultramarine, and white with oil of copavia. Paint the entire composition in monochrome, establishing light and shadow.
Tip — This method is established by Reynolds and provides a stable base for subsequent color layers (Source 1).
Grisaille

refining

step 03
Allow the grisaille to dry completely. Then, apply transparent glazes of red and yellow tones using oil or a mix of varnish and oil.
Tip — Glazing adds depth and color without obscuring the underlying form. It is akin to tinting an engraving (Source 1).
Glazing
step 04
Apply semi-opaque scumbles, particularly over darker areas, to introduce coolness or grey blooms.
Tip — Scumbling allows the underlying painting to show through, creating complex tonal effects (Source 1).
Scumbling

finishing

step 05
Adjust colors based on the law of simultaneous contrast, ensuring that adjacent hues enhance each other’s intensity and harmony.
Tip — Be aware that colors appear different when viewed together than when viewed separately; adjust to achieve the desired optical effect (Source 2).
Simultaneous Contrast

critical techniques

Glazing and Scumbling

Used to build color and depth over a dry monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque texture and coolness.

Simultaneous Contrast

Applied to harmonize colors and enhance the perception of light and shadow. The artist must account for how adjacent colors influence each other.

Monochrome Underpainting

Establishes the structural integrity of the portrait using a limited palette of black, ultramarine, and white.

common pitfalls

→Applying color before the underpainting is completely dry, which can lead to muddiness and cracking (Source 1).
→Ignoring the law of simultaneous contrast, resulting in colors that appear dull or inaccurate due to optical interference (Source 2).
→Over-modeling or becoming too tied to the outline, which can stifle the expressive quality of the work (Source 5).
→Using linseed oil for light colors like white, which may yellow over time; use safflower or poppyseed oil instead (Source 3).

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 Eduardo Santonja Rosales' (e.g., clothing, background, pose) are not described in the sources.
·Carlos Saenz de Tejada’s specific palette preferences or unique stylistic quirks beyond general Expressionism are not detailed.
·The exact year of creation is not available, limiting period-specific material analysis.

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 Underpainting and glazing techniques
- ON COPYING — applied to General craftsmanship and avoiding over-modeling
Laws of Contrast of Colour↗
- Simultaneous Contrast — applied to Color harmony and optical effects

cross-referenced from

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

Wikipedia: Oil painting↗
- Materials — applied to Selection of drying oils and pigments
Wikipedia: Portrait painting↗
- Portrait painting — applied to Intent of likeness in portraiture

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

chat about this artwork

in this vein