plate no. 2397

Portrait of Samuel Hood, 1st Viscount Hood

oilRococoportraitportraitfigureshipoceanmilitary uniformsword

recreation guide

This recreation guide focuses on the technical execution of an oil portrait in the style of Lemuel Francis Abbott, a prominent British portraitist of the late 18th and early 19th centuries. While specific visual details of the 'Portrait of Samuel Hood' are not described in the provided sources, the guide relies on the documented practices of oil painting from this era, particularly the methods advocated by Sir Joshua Reynolds and the principles of color contrast. The artwork is characterized by the genre's intent to capture the 'inner essence' and character of the sitter, rather than merely a literal likeness, often resulting in a serious, composed expression where emotion is conveyed through the eyes and eyebrows (Source 7). The technique likely involves a layered approach, utilizing a monochrome underpainting (grisaille) to establish form and value before applying transparent glazes and semi-opaque scumbles to achieve the rich, dense color typical of oil painting (Source 1, Source 4).

estimated time

40-60 hours over 8-12 sessions, allowing for drying times between glaze layers

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Linseed oil or Poppy seed oil	Primary binder for pigments; linseed for general use, poppy for lighter tones to reduce yellowing	Refined linseed oil or cold-pressed poppy oil
Oil of Copavia (or modern damar varnish)	Medium for the first and second paintings, as cited in Reynolds' method	Damar varnish or stand oil
Turpentine	Thinner for initial washes and cleaning brushes	Odorless mineral spirits or pure gum turpentine
Ultramarine, Black, and White pigments	Core palette for the monochrome underpainting (grisaille) as per Reynolds' method	Ultramarine Blue, Ivory Black, Titanium White
Red and Yellow earth pigments (e.g., Vermilion, Yellow Ochre)	For glazing and scumbling to introduce local color and warmth	Cadmium Red, Cadmium Yellow, or modern equivalents
Canvas or Wood Panel	Support for the oil painting	Linen canvas primed with gesso or oak panel

preparation

surface prep

Prepare a rigid support such as a wood panel or tightly stretched linen canvas. Apply a white or light-toned gesso ground to provide a reflective base that enhances the luminosity of subsequent glazes. This aligns with the general practice of oil painting which benefits from a prepared surface to allow for the 'richer and denser color' and layering capabilities of the medium (Source 4).

underdrawing

Create a precise underdrawing using charcoal or thinned oil paint. Given the portrait genre's requirement for a 'good likeness' and the artist's need to 'perceive and imitate promptly' the modifications of light on the model, the drawing should focus on accurate proportions and the placement of key features, particularly the eyes and eyebrows, which are critical for conveying character (Source 5, Source 7).

underpainting

Execute a grisaille (monochrome underpainting) using black, ultramarine, and white mixed with oil of copavia (or a similar resinous medium). This step establishes the full range of values and forms without the distraction of color. As noted in Reynolds' method, this first painting is crucial for establishing the structure, mentally extracting red and yellow tones to focus on the underlying form (Source 1).

color palette

Ultramarine/Black/White

Ultramarine blue, Ivory black, Titanium white

Monochrome underpainting (grisaille) to establish value and form

Red Tones

Vermilion, Red Ochre, or Alizarin Crimson

Glazing and scumbling to introduce warmth to flesh tones and clothing

Yellow Tones

Yellow Ochre, Cadmium Yellow, or Lead-Tin Yellow

Glazing and scumbling to highlight areas and balance red tones

Neutral Grays

Black and White, or Ultramarine and White

Backgrounds and shadows, leveraging simultaneous contrast to enhance adjacent colors

composition

While specific compositional details of this portrait are not provided, the artist likely employed a composition that emphasizes the subject's character. In portrait painting, the 'inner essence' is prioritized, often resulting in a serious, closed-lip expression where the eyes and eyebrows convey the primary emotional content (Source 7). The composition should balance the inherent colors of the flesh, eyes, and hair with chosen draperies and backgrounds to create harmony through simultaneous contrast (Source 8).

step by step

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

underdrawing

step 01
Sketch the portrait with precise proportions, focusing on the eyes and eyebrows to capture the subject's character.
Tip — Ensure the likeness is recognizable, as this is a primary goal of portraiture.
Preparatory Drawing

underpainting

step 02
Apply a grisaille using black, ultramarine, and white mixed with oil of copavia. Establish all light and shadow values.
Tip — Mentally extract red and yellow colors to focus on form and value.
Grisaille

first pass

step 03
Allow the grisaille to dry completely. Begin glazing with transparent coats of red and yellow tones using oil as a medium.
Tip — Apply thin, transparent layers to build up color depth without obscuring the underpainting.
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to adjust tones and create coldness or gray blooms where needed, particularly over darker grounds.
Tip — Observe how the underlying painting shows through the semi-opaque layer.
Scumbling

finishing

step 05
Refine the eyes and eyebrows to convey the subject's character, ensuring the expression is serious and composed.
Tip — Focus on the eyes as the primary source of emotional information.
Detailing

varnishing

step 06
Apply a final varnish to protect the painting and unify the surface sheen.
Tip — Ensure the painting is fully dry before varnishing.
Varnishing

critical techniques

Glazing and Scumbling

Used to apply transparent and semi-opaque layers of color over a dry monochrome underpainting, allowing for rich color depth and subtle tonal variations.

Simultaneous Contrast

Consider how adjacent colors affect each other's perception, adjusting tones to harmonize the composition and enhance the inherent colors of the subject.

Character Portrayal

Focus on the eyes and eyebrows to convey the subject's inner essence and moral quality, avoiding fleeting or accidental expressions.

common pitfalls

→Applying color before the monochrome underpainting is completely dry, which can lead to muddiness and loss of form.
→Over-modeling or becoming too tied to the outline, which can result in a stiff, unnatural appearance.
→Ignoring the effects of simultaneous contrast, leading to disharmonious color relationships.
→Attempting to convey too much emotion through the mouth, whereas historical portraits often rely on the eyes and eyebrows for expression.

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 Samuel Hood's attire, background, and pose are not described in the sources.
·The exact year of creation is not available, limiting precise contextual analysis.
·Lemuel Francis Abbott's specific palette preferences beyond general period practices are not detailed in the provided sources.

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
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and contrast principles

cross-referenced from

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

Wikipedia: Portrait painting↗
- Portrait painting — part 2 — applied to Character portrayal and expression
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to Materials and general technique

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

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