plate no. 3609
Portrait of Ferdinand I of the Two Sicilies
Angelica Kauffman, 1782
recreation guide
This recreation guide addresses Angelica Kauffman’s 1782 oil portrait of Ferdinand I of the Two Sicilies. Kauffman, a founding member of the Royal Academy and a self-identified history painter, approached portraiture with the rigor of academic theory, emphasizing 'grace, elegance and accuracy' (Source 8). The work is executed in oil, a medium Kauffman mastered to express 'vital qualities' rather than mere optical deception, adhering to the principle that art is an expression of feeling through painted symbols (Source 3). As a Neoclassical work, it likely employs a restrained palette and clear linear definition, consistent with her training in copying masters like Raphael and Guido Reni (Source 8). The painting reflects her status as a skilled craftsman who understood the 'alphabet of our art' and the necessity of sound technical foundation (Source 1).
estimated time
20-30 hours over 5-7 sessions
materials
4 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Lead White, Ochres, Vermilion, Ultramarine/Lapis Lazuli) | Primary pigments for building form and color. Lead white was the dominant white for centuries due to opacity and drying time (Source 7). Ochres and earths provide fixed, covering tones (Source 5). | Titanium White (for safety), Yellow Ochre, Cadmium Red Light, Ultramarine Blue |
| Linseed Oil | Drying oil medium. It is the most general-purpose oil for binding pigment (Source 7). | Refined Linseed Oil |
| Canvas or Panel | Support for the oil paint. Linen is a traditional support derived from the flax plant (Source 7). | Primed Linen Canvas |
| Charcoal or Graphite | For underdrawing. Academic drawings were expected to be highly finished to acquire the habit of minute visual expression (Source 4). | Vine Charcoal or Graphite Pencil |
preparation
surface prep
Prepare a linen canvas with a traditional oil ground (gesso and oil) or a modern acrylic gesso if working quickly. Kauffman’s practice as a history painter implies a smooth, fine surface capable of supporting the 'minute visual expression' and 'highly finished' quality expected of academic drawing and painting (Source 4). The surface should be neutral to allow for the 'simultaneous contrast of colours' to be perceived accurately without interference from the ground tone (Source 2).
underdrawing
Execute a precise underdrawing. Kauffman’s training involved copying masters to learn anatomy and form, suggesting a reliance on accurate linear construction before applying paint (Source 8). The drawing should not merely be 'accurate' in a scientific sense but should convey the 'emotional significance' and 'vivid manner' of the subject, underlining forms to enhance their presence (Source 4). Use charcoal or a thin wash to establish the composition, ensuring the 'habit of minute visual expression' is engaged early (Source 4).
underpainting
Apply a monochromatic or limited-color underpainting (imprimatura) to establish values. While specific underpainting colors for this portrait are not detailed in the sources, the general practice of oil painting involves using the medium’s capacity to approach illusion without losing the 'vitality possessed by the medium' (Source 3). This layer helps in 'harmonizing those colours of a composition which are essentially inherent to the nature of the objects' (Source 2).
color palette
Lead White
Pure Lead White
Highlights and mixing lighter tones. It was the dominant white pigment for centuries (Source 7). Note: Use Titanium White as a safe modern equivalent.
Yellow Ochre
Natural Yellow Ochre
Skin tones and earthy backgrounds. Earths like ochres are valued for their 'perfect fixedness' and ability to cover well (Source 5).
Vermilion/Cinnabar
Cinnabar (native vermilion)
Reds in clothing or flesh tones. Listed as a key coloring substance in historical palettes (Source 5).
Ultramarine/Lapis
Blue pulverised enamels or Lapis Lazuli
Deep blues in clothing or shadows. Historical palettes included blue enamels (Source 5).
Black
Ivory Black or Lamp Black
Shadows and outlining. Various blacks prepared from combustion were standard (Source 5).
composition
Kauffman’s portraits, while less documented in specific compositional rules than her history paintings, reflect her identity as a history painter who valued 'Design' and 'Composition' as core elements of art (Source 8). The composition likely emphasizes clear, legible forms and a dignified pose, consistent with Neoclassical ideals. Avoid 'smallness' or getting 'too much tied down to your outline' by ensuring broad masses are established first (Source 1). The arrangement should facilitate the 'simultaneous contrast of colours,' ensuring that adjacent colors enhance rather than muddy each other (Source 2).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Transfer the design to the prepared surface using charcoal. Focus on accurate proportions and the 'emotional significance' of the subject’s pose.
Tip — Ensure the drawing is 'highly finished' to allow for instinctive handling of subtleties later (Source 4).
Academic Drawing
underpainting
step 02
Apply a thin layer of paint to establish major value masses. Use earth tones to block in the figure and background.
Tip — Do not attempt more than the medium is capable of doing at this stage; respect the 'vital qualities' of the oil paint (Source 3).
Imprimatura
first pass
step 03
Begin applying local colors. Be mindful of 'simultaneous contrast,' where colors appear modified by their neighbors (Source 2). Adjust hues based on this interaction.
Tip — The eye is susceptible to fatigue when disentangling modifications; take breaks to reset color perception (Source 2).
Simultaneous Contrast
refining
step 04
Refine details, particularly in the face and hands. Kauffman’s work is noted for 'grace, elegance and accuracy' (Source 8). Avoid 'over-modelling' or becoming 'too timid to depart from [the outline]' (Source 1).
Tip — Use copies of masterworks as correctives if you struggle with finish or broad masses (Source 1).
Glazing and Scumbling
finishing
step 05
Final adjustments to harmonize the composition. Ensure the painting remains a 'painted symbol' and does not become a 'meretricious attempt to deceive the eye' (Source 3).
Tip — Remember that art is an expression of feeling, not just a substitute for nature (Source 3).
Final Glazing
critical techniques
Simultaneous Contrast of Colours
Understanding that colors appear modified by adjacent hues. The painter must perceive and imitate these modifications to achieve accurate representation (Source 2).
Academic Drawing Precision
Producing highly finished drawings to instill 'minute visual expression' habits, allowing for freedom in the final painting (Source 4).
Copying as Corrective
Using copies of masterworks to address specific weaknesses, such as 'smallness' or 'over-modelling' (Source 1).
common pitfalls
- →Becoming 'too much tied down to your outline' or 'inclined to over-model,' which can make the painting appear stiff (Source 1).
- →Ignoring 'simultaneous contrast,' leading to inaccurate color perception and muddy mixes (Source 2).
- →Attempting to create a 'meretricious attempt to deceive the eye' rather than expressing the 'vital qualities' of the medium (Source 3).
- →Neglecting the 'habit of minute visual expression' in the drawing phase, leading to difficulties in the final stages (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 pigments used in this particular portrait are not listed in the sources; the palette is inferred from general 18th-century practices and Kauffman’s era.
- ·The exact underpainting color (e.g., umber vs. gray) is not specified for this work.
- ·Detailed brushwork techniques (e.g., specific glazing layers) are not described in the sources, though general oil painting principles are provided.
- ·The specific pose and attire of Ferdinand I are not described in the sources, so the guide focuses on general portraiture techniques rather than specific visual replication.
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 Advice on using copies to correct weaknesses like 'smallness' or 'over-modelling' (Source 1).
Laws of Contrast of Colour↗
- Simultaneous Contrast — applied to Understanding how adjacent colors affect perception and accuracy (Source 2).
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of using oil paint to express vitality rather than mere deception (Source 3).
- FROM A STUDY BY BOTTICELLI — applied to Importance of highly finished academic drawing for visual expression (Source 4).
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Historical pigment choices like ochres, vermilion, and lead white (Source 5).
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Angelica Kauffman↗
- part 4 — applied to Kauffman’s identity as a history painter and her emphasis on 'grace, elegance and accuracy' (Source 8).
Wikipedia: Oil painting↗
- part 4 — applied to Properties of linseed oil and lead white (Source 7).
Read more about the corpus on the sources page and how the guides are built on the methods page.
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