plate no. 2040

Portrait of Lorenzo Hervas y Panduro

oil, canvasNeoclassicismportraitportraitfigurebookovalpenclerical collar

recreation guide

This recreation guide addresses the painting of a Neoclassical portrait in the manner of Angelica Kauffman, specifically referencing her 1794 work 'Portrait of Lorenzo Hervas y Panduro.' Kauffman, a founding member of the Royal Academy, was known for her history painting and portraiture, characterized by a refined, linear style consistent with the Neoclassical movement (Source 8). The process emphasizes the structural integrity of the figure and the harmonious application of color, adhering to the principles of light and contrast that were central to academic training of the period. The technique relies on a layered approach, moving from a monochromatic underpainting to transparent glazes, a method documented in historical oil painting practices that Kauffman and her contemporaries likely employed to achieve depth and luminosity without muddying the colors (Source 2).

estimated time

40-60 hours over 8-12 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil-primed canvas	Support for the painting, consistent with 18th-century European practice.	Pre-primed linen or cotton canvas
Linseed oil or Poppy seed oil	Binder for pigments; provides flexibility and rich color density.	Refined linseed oil or cold-pressed poppy oil
Turpentine	Thinner for initial layers and cleaning brushes.	Odorless mineral spirits or pure gum turpentine
Ultramarine, White (Lead or Titanium), Black (Ivory or Lamp)	Core pigments for the grisaille underpainting, as cited in Reynolds' method which reflects the era's academic standards.	Ultramarine Blue, Titanium White, Ivory Black
Transparent Red and Yellow pigments (e.g., Vermilion, Yellow Ochre, or Cadmium)	For glazing and scumbling to introduce local color over the monochrome base.	Alizarin Crimson, Cadmium Yellow Light
Copal Varnish or Dammar Varnish	Medium for glazing layers to increase transparency and depth.	Artist-grade copal or dammar varnish

preparation

surface prep

The canvas should be prepared with a white or light-toned oil ground to facilitate the layering technique. While specific records of Kauffman's ground preparation are not detailed in the sources, the general practice of the period involved sizing and priming to create a smooth, absorbent surface suitable for fine linear work and glazing (Source 6).

underdrawing

Kauffman’s Neoclassical style emphasizes clear, precise outlines and anatomical correctness. The underdrawing should be executed with a thin wash of umber or charcoal, focusing on the structural proportions of the figure and the drapery folds. This aligns with the academic emphasis on 'broad masses' and correct form before detail (Source 3).

underpainting

Execute a grisaille (monochrome underpainting) using black, ultramarine, and white. This step establishes the values, light, and shadow without the distraction of color. This method is supported by Sir Joshua Reynolds’ description of his own practice, which reflects the standard academic technique of the time: 'The first and second paintings are with oil of copavia... the colours being black, ultramarine, and white' (Source 2). This layer allows the artist to 'perceive and imitate promptly and surely the modifications of the light on the model' (Source 1).

color palette

Ultramarine/Black/White

Ultramarine blue, Ivory black, White

Grisaille underpainting to establish value structure.

Flesh Tones

Transparent reds and yellows glazed over the grisaille

Modeling the face and hands, adhering to the principle that flesh colors are 'fixed by the model' (Source 4).

Drapery Colors

Local colors chosen by the artist, glazed for depth

Clothing and background, where the painter has 'a choice of draperies, ornaments, background' (Source 4).

composition

The composition should reflect the Neoclassical preference for clarity and order. Kauffman characteristically balanced her portraits with a focus on the sitter's expression and attire, avoiding excessive clutter. The arrangement of elements should consider the 'law of simultaneous contrast,' ensuring that adjacent colors enhance rather than diminish each other's intensity (Source 1).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the figure and drapery with precise lines, focusing on anatomical accuracy and the flow of fabric.
Tip — Ensure proportions are correct before proceeding, as corrections are difficult in oil.
Linear drawing

underpainting

step 02
Apply a grisaille using black, ultramarine, and white to establish all light and shadow values. Let this layer dry completely.
Tip — Do not rush this stage; it is the foundation for the color layers.
Grisaille

first pass

step 03
Begin glazing transparent red and yellow tones over the grisaille. Use oil or a mix of oil and varnish as a medium.
Tip — Apply thin, transparent layers to allow the underpainting to show through, creating depth.
Glazing

refining

step 04
Scumble semi-opaque colors over darker areas to adjust tones and create 'grey blooms' or coldness where needed.
Tip — Scumbling tends to coldness when employed over a darker ground; use it to refine highlights and mid-tones.
Scumbling

finishing

step 05
Adjust local colors and contrasts, ensuring that the 'modifications of tone and of colour which they receive from contiguous colours' are accurately rendered.
Tip — Be aware that the eye may see colors inaccurately due to 'mixed contrast' from previous viewing; rest your eyes frequently.
Simultaneous Contrast

varnishing

step 06
Apply a final varnish to protect the painting and unify the sheen of the different layers.
Tip — Ensure the painting is completely dry before varnishing to prevent cracking.
Varnishing

critical techniques

Glazing and Scumbling

Used to build color depth and luminosity over a monochrome base. Glazing adds transparent color, while scumbling adds semi-opaque texture. This method was 'practised by the old masters far more generally' than modern painters assume (Source 2).

Simultaneous Contrast

Understanding that adjacent colors affect each other's appearance. The artist must account for this to 'harmonize those colours of a composition which are essentially inherent to the nature of the objects' (Source 1).

Grisaille Underpainting

Establishing values in monochrome before adding color. This allows the artist to focus on light and form without the complexity of hue, a method endorsed by Reynolds and typical of the period (Source 2).

common pitfalls

→Muddying colors by mixing too many pigments directly on the palette instead of using glazes (Source 2).
→Ignoring the effect of simultaneous contrast, leading to inaccurate color perception and disharmony (Source 1).
→Over-modeling or becoming 'too much tied down to your outline,' which can result in a stiff, lifeless appearance (Source 3).
→Darkening colors by adding black, which can cause unwanted hue shifts toward green or blue, especially in reds and yellows (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.

·Specific details of the sitter's clothing, jewelry, or background in 'Portrait of Lorenzo Hervas y Panduro' are not described in the provided sources, so the guide relies on general Neoclassical portrait conventions.
·Angelica Kauffman's exact personal palette and medium recipes are not explicitly detailed in the sources, so the guide uses Reynolds' method as a proxy for contemporary academic practice.
·The specific lighting conditions and pose of the sitter are not described, so the underdrawing instructions are generalized.

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 and glazing/scumbling techniques
- ON COPYING — applied to Advice on avoiding over-modeling and focusing on broad masses
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and perception adjustments

cross-referenced from

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

Wikipedia: Oil painting↗
- part 1 — applied to Materials and general oil painting properties
Wikipedia bio — Angelica Kauffman↗
- part 1 — applied to Artist's background and style context

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

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