plate no. 9347
Portrait of Maria Carolina of Austria
Angelica Kauffman, 1782
recreation guide
This recreation guide addresses the painting of a Neoclassical portrait in the style of Angelica Kauffman, specifically referencing her 1782 work 'Portrait of Maria Carolina of Austria.' Kauffman was a prominent history painter who applied the rigorous academic principles of design and composition to portraiture, distinguishing her work through 'grace, elegance and accuracy' (Source 8). The artwork exemplifies the Neoclassical style, which prioritizes clear outlines, balanced composition, and a restrained palette derived from classical antiquity. Unlike the loose brushwork of later Romanticism, Kauffman’s practice involved a high degree of finish and craftsmanship, requiring the artist to be a 'sound craftsman' who masters the medium's capacities (Source 1). The painting likely employs the 'fat over lean' principle of oil application to ensure stability and depth, while utilizing the laws of simultaneous contrast to harmonize flesh tones with drapery and background (Source 6, Source 3).
estimated time
40-60 hours over 8-12 sessions
materials
9 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Linseed oil | To mix with pigments for binding and adjusting drying time; essential for the 'fat over lean' layering technique. | Refined linseed oil |
| Mineral spirits or turpentine | To thin paint for underdrawing and initial layers; also used for cleaning brushes. | Odorless mineral spirits (Gamsol) |
| Charcoal or thinned paint | For the initial sketching of the subject onto the canvas. | Vine charcoal or raw umber thinned with solvent |
| Earth pigments (ochres, umbers) | Kauffman and her contemporaries valued earths for their 'perfect fixedness' and ability to create broken tones, avoiding the instability of some synthetic lakes. | Yellow Ochre, Burnt Umber, Raw Sienna |
| White Lead or Titanium White | For highlights and mixing tints; historically 'chalk white' or 'white lead' was standard. | Titanium White (for safety) or Flake White (for historical accuracy) |
| Red Ochre and Vermilion/Cinnabar | For flesh tones and accents; Pliny notes the use of red ochre and cinnabar in classical palettes. | Red Ochre, Cadmium Red or Alizarin Crimson |
| Blue pigments (Indigo or Ultramarine) | For shadows and complementary contrasts; ancient artists used indigo or blue enamels. | Ultramarine Blue or Phthalo Blue |
| Black pigments (Ivory Black or Lamp Black) | For deep shadows and outlining; prepared from combustion of bodies like ivory or grapestone. | Ivory Black |
| Canvas | The support for the oil painting. | Linen canvas, primed with gesso |
preparation
surface prep
The canvas should be primed with a stable ground, likely gesso, to provide a smooth surface suitable for the 'finish' and 'accuracy' characteristic of Kauffman's Neoclassical style (Source 1, Source 8). The ground must be dry and sealed to prevent oil absorption issues.
underdrawing
Begin by sketching the subject onto the canvas using charcoal or thinned paint (Source 2, Source 3). Kauffman, as a history painter trained in design, would have emphasized precise anatomical structure and clear outlines. The drawing should be firm but not so heavy that it shows through the final glazes. If the artist is 'too much tied down to your outline,' they should practice loosening up, but for this specific Neoclassical style, a clear underlying structure is essential (Source 1).
underpainting
Apply a lean underpainting (mixed with more solvent than oil) to establish values and basic colors. This layer should be thin and transparent. The 'fat over lean' rule dictates that this initial layer must contain less oil than subsequent layers to prevent cracking (Source 2, Source 3). Use earth tones (ochres, umbers) to block in the flesh and drapery, focusing on the 'broad masses' before moving to details (Source 1).
color palette
Flesh Tones
White lead, red ochre, yellow ochre, and small amounts of vermilion.
General use in this artist's palette for skin; Kauffman's 'grace and elegance' suggests soft, blended transitions rather than harsh contrasts.
Draperies (Neoclassical Whites/Blues)
White lead, ultramarine/indigo, and black for shadows.
Typical Neoclassical attire; the contrast between light drapery and darker background is key.
Background
Burnt umber, black, and green earth.
To recede visually and allow the figure to stand out; consistent with the 'chiaroscuro' principles of juxtaposing tones (Source 6).
Hair
Burnt umber, black, and raw umber.
Dark hair typical of the period; use 'mixed contrast' to ensure it doesn't appear flat against the background (Source 4).
composition
While specific compositional details of this portrait are not described in the sources, Kauffman’s work is characterized by 'grace, elegance and accuracy' (Source 8). The composition likely follows Neoclassical principles of balance and clarity. The artist should aim for 'great effects' where 'many small ones resulted from them,' focusing on the overall harmony of the figure within the frame (Source 6). The placement of the subject should be deliberate, avoiding 'smallness' or timid outlining (Source 1).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the figure using charcoal or thinned paint. Focus on accurate proportions and clear outlines, reflecting Kauffman's training in design and anatomy.
Tip — Ensure the drawing is not too heavy; it should serve as a guide, not a final line.
Underdrawing
underpainting
step 02
Apply a lean wash of earth tones to establish values. Mix paint with more solvent than oil to ensure quick drying and a stable base.
Tip — Do not add too much oil at this stage; the layer must be 'lean' to prevent cracking later.
Fat over Lean
first pass
step 03
Begin building up color in broader masses. Use the 'law of simultaneous contrast' to adjust colors based on their neighbors; for example, flesh tones will appear warmer against cool blue drapery.
Tip — Observe how the eye perceives color modifications due to contiguous colors; adjust accordingly to avoid 'inaccurate' color perception (Source 4).
Simultaneous Contrast
refining
step 04
Add finer details and blend transitions. Kauffman’s 'finish' requires careful blending to achieve the 'elegance' noted in her work. Use brushes to smooth out brushstrokes where necessary.
Tip — If you are 'able to deal with broad masses and fail in finish,' study works like Van Eyck’s small heads to improve detail work (Source 1).
Blending/Finishing
finishing
step 05
Apply final highlights and glazes. Ensure each layer contains more oil than the previous one ('fat over lean') to maintain structural integrity.
Tip — Check for 'smallness' or over-modeling; step back to assess the overall harmony and 'great effects' (Source 6).
Glazing
varnishing
step 06
Allow the painting to dry completely (up to two weeks) before applying a varnish to protect the surface and enhance color depth.
Tip — Oil paint dries by oxidation, not evaporation; patience is required to avoid damaging the paint film (Source 2).
Varnishing
critical techniques
Fat over Lean
Each subsequent layer of paint must contain more oil than the layer below to prevent cracking and peeling. This is a fundamental rule of oil painting technique.
Simultaneous Contrast
Adjust colors based on their interaction with adjacent colors. For instance, a flesh tone next to a blue drapery will appear warmer; the artist must compensate for this optical effect to achieve accurate representation.
Chiaroscuro via Juxtaposition
Create gradations of light and shadow by juxtaposing tones. The highest tone is enfeebled and the lowest heightened at the boundary, creating a natural transition.
Craftsmanship and Finish
Kauffman’s work is noted for its 'accuracy' and 'finish.' The artist must avoid 'smallness' or timid outlining, aiming for a polished, professional result.
common pitfalls
- →Applying a lean layer over a fat layer, which will cause the paint to crack and peel (Source 3).
- →Over-modeling or becoming 'too much tied down to your outline,' resulting in a stiff, unnatural appearance (Source 1).
- →Ignoring the effects of simultaneous contrast, leading to inaccurate color perception and muddy tones (Source 4).
- →Attempting too much detail too early, failing to establish 'broad masses' first (Source 1).
- →Using unstable pigments or improper mixing that leads to chemical reactions or fading; stick to stable earths and well-tested mixes (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 visual details of the 'Portrait of Maria Carolina of Austria' (e.g., exact clothing pattern, jewelry, background elements) are not described in the provided sources. The guide relies on general Neoclassical conventions and Kauffman's documented style.
- ·The exact palette used by Kauffman for this specific painting is not detailed; the guide infers a classical palette based on her era and general practice.
- ·Specific brush types or canvas preparation methods unique to Kauffman are not covered; general 18th-century oil painting practices are assumed.
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 Emphasis on craftsmanship, finish, and avoiding 'smallness' or timid outlines.
- ON COPYING — applied to Advice on studying masters like Van Eyck for finish and detail.
- ON COPYING — applied to Kauffman's reputation for 'grace, elegance and accuracy'.
Laws of Contrast of Colour↗
- 315-318 — applied to Principles of simultaneous contrast and color harmony.
- 6 — applied to Chiaroscuro and the juxtaposition of tones.
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Historical context of pigments and the value of earth tones.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- part 2 — applied to Technical rules of 'fat over lean,' drying times, and underdrawing methods.
- part 2 — applied to Chemical nature of oil paint drying and varnishing.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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