plate no. 6644
Princess Elizabeth Opening the New Broadgate, Coventry
Laura Knight, 1948
recreation guide
Laura Knight’s 1948 oil painting 'Princess Elizabeth Opening the New Broadgate, Coventry' is a history painting that captures a specific narrative moment of civic ceremony. As a history painting, the work is defined by its subject matter—a moment in a narrative story—rather than a static portrait or landscape (Source 3). Knight, known for her ability to render figures with emotional significance and her background in painting the 'hardship and poverty' of working-class life as well as heroic wartime subjects, likely approached this commission with a focus on the human element within the formal setting (Source 4, Source 7). The painting serves as a record of a post-war reconstruction event, fitting the genre of historical painting which depicts scenes from secular history (Source 3).
estimated time
40-60 hours over 8-12 sessions
materials
4 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, Black, White, Red ochre/yellow earths) | For the initial grisaille underpainting and subsequent glazing/scumbling layers | Standard tube oils; Ultramarine Blue, Ivory Black, Titanium White, Red Ochre, Yellow Ochre |
| Oil of Copavia (or modern damar/resin substitute) | Medium for the first and second paintings to facilitate transparency and flow | Liquin or a mixture of linseed oil and damar varnish |
| Canvas | Support for the oil painting | Linen or cotton duck canvas, primed |
| Varnish | Mixed with oil for later glazing stages to gain mastery over transparent tones | Damar varnish or synthetic resin varnish |
preparation
surface prep
The surface should be prepared to accept a monochrome underpainting. While specific priming details for this 1948 work are not in the sources, the technique described involves a 'grisaille' (monochrome) preparation that must be 'quite dry' before proceeding (Source 1). The artist likely used a neutral ground to facilitate the extraction of red and yellow tones in the mental visualization phase (Source 1).
underdrawing
Knight’s approach to drawing emphasizes 'minute visual expression' and 'artistic accuracy' over scientific precision, aiming to convey the 'emotional significance' of the form (Source 5). For a history painting with multiple figures, the underdrawing would likely focus on the 'bigger qualities' and narrative gestures, ensuring that the 'smaller subtleties' become instinctive so the mind is free for the emotional stimulus of the scene (Source 5).
underpainting
The underpainting should be a grisaille (monochrome) using black, ultramarine, and white, mixed with oil of copavia (Source 1). This stage involves 'mentally extracting the red and yellow colours' to establish the tonal structure as if those colors were not present in nature (Source 1). This method allows the artist to focus on form and light before introducing color complexity.
color palette
Ultramarine
Pure pigment
Part of the initial black/blue/white grisaille underpainting (Source 1)
Black
Pure pigment
Part of the initial grisaille underpainting (Source 1)
White
Pure pigment
Part of the initial grisaille underpainting (Source 1)
Red and Yellow tones
Transparent glazes
Applied via glazing and scumbling over the dry grisaille to tint the painting, similar to tinting an engraving (Source 1)
composition
As a history painting, the composition likely contains a number of figures showing a 'moment in a narrative' (Source 3). Knight’s general practice involves capturing the 'emotional significance' of her subjects, whether they are working-class fishermen or wartime heroes (Source 7, Source 4). The composition would balance the 'broad masses' of the crowd and architecture with the 'finish' required for the principal figures, such as Princess Elizabeth (Source 2).
step by step
underdrawing→underpainting→refining→finishing
underdrawing
step 01
Sketch the figures and architectural elements, focusing on the narrative moment and emotional significance rather than rigid scientific accuracy.
Tip — Ensure the drawing conveys the 'sentient individual' recording sensations, not just a weighing machine's observation (Source 5).
Artistic Accuracy
underpainting
step 02
Apply a grisaille using black, ultramarine, and white mixed with oil of copavia. Establish the full tonal range of the painting.
Tip — Mentally extract red and yellow colors, visualizing what would be left in nature if these two colors were not present (Source 1).
Grisaille
refining
step 03
Wait for the grisaille to become 'quite dry'. Then, begin glazing and scumbling with oil.
Tip — Apply yellow and red tones as they occur, much like tinting an engraving with watercolors (Source 1).
Glazing and Scumbling
finishing
step 04
As mastery is gained, mix varnish with oil for further glazing. Use scumbling (semi-opaque painting) over darker grounds to create coldness or grey blooms if needed.
Tip — Be aware that scumbling over a darker ground tends to coldness, which can be used to obtain a 'grey bloom' (Source 1).
Varnish Glazing
step 05
Review the contrast of colors. Ensure that juxtapositions of colors produce the desired chiaroscuro and gradation of light.
Tip — Remember that the tint of the highest tone is enfeebled while the lowest tone is heightened at the line of juxtaposition (Source 6).
Simultaneous Contrast
critical techniques
Glazing and Scumbling
A transparent coat of color (glazing) and semi-opaque painting (scumbling) applied over a dry monochrome underpainting. This method was practiced by old masters and allows for rich tonal depth (Source 1).
Grisaille Underpainting
Using black, ultramarine, and white to establish form and tone before adding color. This separates the structural work from the coloristic work (Source 1).
Artistic Accuracy in Drawing
Drawing that conveys emotional significance and vivid form rather than just scientific accuracy. This frees the artist to focus on bigger qualities during the emotional stimulus of painting (Source 5).
common pitfalls
- →Applying color before the grisaille is 'quite dry', which can muddy the transparent layers (Source 1).
- →Focusing too much on 'scientific accuracy' in the drawing phase, which may hinder the expression of emotional significance (Source 5).
- →Neglecting the effects of simultaneous contrast, where juxtaposed colors alter each other's perceived tone (Source 6).
- →Being 'too much tied down to your outline' or 'inclined to over-model', which can make the painting appear small or timid (Source 2).
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 Princess Elizabeth's attire or the exact layout of the Broadgate ceremony are not described in the sources, so the artist must rely on historical photographs or general knowledge of 1948 royal attire.
- ·The specific scale of the painting is not mentioned, though history paintings are often large (Source 3).
- ·Knight's specific palette choices for this particular 1948 work are not detailed, only the general technique of glazing red and yellow tones is provided (Source 1).
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, glazing, scumbling, and medium usage
- ON COPYING — applied to Advice on avoiding over-modeling and focusing on broad masses
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to Drawing philosophy and artistic accuracy
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color contrast and chiaroscuro effects
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: History painting↗
- History painting — part 1 — applied to Genre definition and compositional expectations
Wikipedia bio — Laura Knight↗
- part 8 — applied to Context of Knight's figure painting and narrative approach
Read more about the corpus on the sources page and how the guides are built on the methods page.
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