plate no. 3524
Portrait of Herzogs von Ceri
recreation guide
This recreation guide addresses the painting of a Neoclassical portrait in the manner of Angelica Kauffman. Kauffman was a founding member of the Royal Academy who identified primarily as a history painter, a genre considered the most elite in academic theory, requiring extensive knowledge of anatomy and classical literature (Source 4). While she produced portraits, her approach was likely informed by the rigorous standards of history painting and the academic principles promoted by Sir Joshua Reynolds. The technique relies on the 'old master' methods of glazing and scumbling over a monochrome underpainting, a practice Reynolds himself endorsed using oil of copavia, black, ultramarine, and white (Source 1). The color strategy emphasizes the laws of simultaneous contrast to harmonize inherent flesh tones with chosen drapery and background colors (Source 2, Source 3).
estimated time
40-60 hours over 6-8 weeks (allowing for drying times between glaze layers)
materials
7 items
steps
7 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil of Copavia (or modern stand oil/dammar resin substitute) | Medium for the initial underpainting layers, as specified by Reynolds' method cited in the sources. | Stand oil or a mixture of linseed oil and dammar resin |
| Black pigment (Ivory Black or Lamp Black) | Primary component of the grisaille/monochrome underpainting. | Ivory Black |
| Ultramarine | Primary component of the grisaille/monochrome underpainting. | Ultramarine Blue |
| White Lead (or Titanium White substitute) | Primary component of the grisaille/monochrome underpainting and for highlights. | Titanium White (note: historically White Lead was used for its transparency and drying properties) |
| Red Ochre and Yellow Ochre | Earth tones for flesh and drapery, consistent with the 'ancient artists' palette mentioned in Source 5. | Natural Red Ochre, Yellow Ochre |
| Transparent Red Lake and Transparent Yellow Lake | For glazing red and yellow tones over the dry grisaille, as described in Source 1. | Alizarin Crimson (or Quinacridone Rose), Cadmium Yellow Light (or Hansa Yellow) |
| Varnish | Mixed with oil for later glazing stages to gain mastery and depth. | Dammar Varnish |
preparation
surface prep
Prepare a rigid panel or canvas with a smooth ground. Kauffman’s Neoclassical style favors smooth surfaces that allow for the delicate glazing techniques described. The surface should be primed to accept oil mediums without excessive absorption. While specific ground recipes for Kauffman are not detailed in the sources, the method described by Reynolds (Source 1) implies a stable surface capable of supporting multiple transparent layers.
underdrawing
Kauffman studied anatomy by copying drawings from masters like Titian and Raphael (Source 4). The underdrawing should be precise, reflecting the 'accuracy' praised in her work (Source 4). Use a thin wash of the underpainting colors to establish the composition and anatomical structure before building tone.
underpainting
Create a grisaille (monochrome) underpainting using black, ultramarine, and white mixed with oil of copavia (Source 1). This layer establishes the light and shadow structure. The artist must mentally extract red and yellow colors, translating what would remain in nature if those colors were absent (Source 1). This layer must be allowed to dry completely before proceeding.
color palette
Black
Ivory Black
Underpainting shadows and defining contours in the grisaille stage.
Ultramarine
Ultramarine Blue
Underpainting mid-tones and cool shadows in the grisaille stage.
White
White Lead (historical) / Titanium White (modern)
Underpainting highlights and mixing with black/ultramarine for the grisaille.
Red Ochre
Natural Red Ochre
General use in the artist's palette for earth tones and flesh undertones, consistent with ancient palettes (Source 5).
Yellow Ochre
Natural Yellow Ochre
General use in the artist's palette for earth tones and flesh undertones (Source 5).
Transparent Red
Red Lake
Glazing red tones over the dry grisaille to restore color warmth (Source 1).
Transparent Yellow
Yellow Lake
Glazing yellow tones over the dry grisaille to restore color warmth (Source 1).
composition
As a history painter, Kauffman likely applied principles of 'great effects' resulting in 'many small ones' (Source 3). The composition should balance the inherent colors of the flesh (fixed by the model) with chosen colors for draperies and background (Source 3). Attention to simultaneous contrast is crucial: the lightest tones will be lowered and darkest heightened by adjacent colors (Source 2). The arrangement should reflect the academic emphasis on design and composition, which Kauffman depicted in her own allegorical series (Source 4).
step by step
underdrawing→underpainting→first pass→drying→refining→finishing→varnishing
underdrawing
step 01
Sketch the figure and drapery with precision, focusing on anatomical correctness derived from study of classical masters.
Tip — Ensure proportions are accurate, as Kauffman was known for accuracy (Source 4).
Academic 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 hues; focus solely on value and form (Source 1).
Grisaille
first pass
step 04
Apply transparent glazes of red and yellow tones over the dry grisaille. Use oil as the medium initially.
Tip — Treat this like tinting an engraving with watercolors, allowing the underlying monochrome to show through (Source 1).
Glazing
drying
step 03
Allow the grisaille to dry completely. This is critical before applying glazes.
Tip — Rushing this step will muddy the subsequent transparent layers.
Layering
refining
step 05
Use scumbling (semi-opaque painting) to adjust tones, particularly over darker grounds to create coldness or grey blooms if needed.
Tip — Be aware that scumbling over dark grounds tends toward coldness (Source 1).
Scumbling
finishing
step 06
Refine color harmonies by considering simultaneous contrast. Adjust adjacent colors so that the inherent flesh tones harmonize with the chosen drapery and background.
Tip — Remember that the eye sees the result of the color and the complementary of the previously seen color (Source 2).
Simultaneous Contrast
varnishing
step 07
Apply a final varnish to protect the work and unify the glazes.
Tip — Ensure the painting is fully cured before varnishing.
Varnishing
critical techniques
Glazing and Scumbling
Glazing involves applying a transparent coat of color over a dry underpainting. Scumbling is semi-opaque painting where the underlying layer shows through. These were practiced by old masters and Reynolds (Source 1).
Simultaneous Contrast
Understanding that adjacent colors affect each other's appearance. The painter must appreciate modifications of tone and color received from contiguous colors to harmonize the composition (Source 2, Source 3).
Monochrome Underpainting
Establishing form and light/shadow in black, white, and ultramarine before adding color. This separates the structural work from the color work (Source 1).
common pitfalls
- →Applying glazes before the underpainting is completely dry, which will mix the layers and destroy the transparency (Source 1).
- →Ignoring simultaneous contrast, leading to disharmonious colors where the eye is fatigued by unaccounted modifications (Source 2).
- →Over-modeling or being too tied to the outline, which can make the painting appear small or timid. Copying works like Reynolds' 'Portraits of Two Gentlemen' can help correct this (Source 7).
- →Using a palette that is too chemically unstable or lacking in earth tones, which are essential for fixed, covering tones (Source 5).
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.
- ·The specific year of the 'Portrait of Herzogs von Ceri' is not available, so the exact phase of Kauffman's career (London vs. Rome) is inferred from general practice.
- ·The specific visual details of the Herzogs von Ceri (clothing, pose, background) are not described in the sources, so the guide focuses on technique rather than iconography.
- ·Kauffman's specific personal palette preferences beyond the general Neoclassical/Reynolds-influenced method are not detailed in the provided texts.
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 method, glazing, and scumbling techniques.
- ON COPYING — applied to Advice on correcting over-modeling and outline dependency.
Laws of Contrast of Colour↗
- 315-324 — applied to Color harmony, simultaneous contrast, and handling of flesh vs. drapery tones.
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Selection of earth tones and historical pigment context.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Angelica Kauffman↗
- part 4 — applied to Context of Kauffman as a history painter and her academic training.
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
Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire
Marie-Gabrielle Capet
The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.
Giovanni Battista Piranesi
Portrait of Louis d'Orleans
Franz Xaver Winterhalter
Rooftops in the shadows
Pierre-Henri de Valenciennes
The Schmadribach Falls
Joseph Anton Koch
A Scene from 'As You Like It' by William Shakespeare
William Hamilton
Portrait of Klementyna Ostrowska Née Sanguszko
Vincenzo Camuccini
Self-Portrait
Anton Raphael Mengs