plate no. 8246

Rear-admiral Sir Horatio Nelson

oilRococoportraitportraitfiguremilitary uniformhatmedalshistorical

recreation guide

Lemuel Francis Abbott’s 1799 portrait of Rear-Admiral Sir Horatio Nelson is a seminal work of late 18th-century British portraiture, notable for its high degree of likeness which satisfied both the sitter and his wife (Source 1). Abbott, who specialized in portrait painting during this period, produced this work while living in the same London lodgings as Nelson, allowing for intimate observation (Source 1). The painting represents the genre of portrait painting, which historically served to memorialize powerful figures and achieve a recognizable likeness of the subject (Source 3). While the specific visual details of Nelson’s uniform or background are not described in the provided sources, the work is grounded in the oil painting traditions of the era, utilizing pigments and drying oils common to the practice (Source 4).

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

4 in sequence

materials

item	purpose	modern equivalent
Linen canvas	Primary support for oil painting, consistent with historical standards where linen was a common support derived from flax (Source 4).	Primed linen canvas
Lead White pigment	Dominant white pigment for centuries, valued for opacity and fast drying time (Source 4).	Titanium White (with note on historical difference)
Linseed oil	General purpose drying oil for mixing pigments (Source 4).	Refined linseed oil
Oil of Copavia	Historical medium used by Sir Joshua Reynolds, a contemporary influence, for first and second paintings (Source 2).	Stand oil or damar varnish mixture
Ultramarine and Black pigments	Used in the initial grisaille or monochrome underpainting stages as per Reynolds' method cited in period texts (Source 2).	Ultramarine Blue and Ivory Black
Red and Yellow earth tones	Used for glazing and scumbling to introduce color after the monochrome base (Source 2).	Vermilion, Yellow Ochre, Raw Sienna

preparation

surface prep

Prepare a linen canvas support, as linen was a standard support for oil painting in this period (Source 4). Apply a traditional oil ground or gesso to create a smooth surface suitable for the fine detail required in portrait likeness (Source 3).

underdrawing

The sources do not specify Abbott’s exact underdrawing method. However, given the emphasis on achieving a 'good likeness' (Source 3), a precise charcoal or red chalk drawing is likely necessary to establish proportions before applying paint. No specific evidence suggests Abbott left preparatory sketches visible in the final work.

underpainting

Employ a grisaille (monochrome underpainting) technique. This involves painting the initial layers using only black, ultramarine, and white, effectively 'extracting red and yellow colours' to establish form and value (Source 2). This method was established by contemporaries like Sir Joshua Reynolds, who used oil of copavia for these initial stages (Source 2).

color palette

White

Lead White

Highlights and mixing; historically the dominant white pigment (Source 4).

Blue/Black

Ultramarine and Black

Initial monochrome underpainting to establish shadows and forms (Source 2).

Red/Yellow Tones

Various red and yellow pigments

Glazing and scumbling over the dry grisaille to add flesh tones and uniform colors (Source 2).

composition

The sources do not describe the specific composition, background, or pose of Nelson in this painting. Therefore, no specific compositional moves can be cited. Generally, portrait painting of this era aimed to represent the subject as a record of their appearance, often serving as a memorial for the rich and powerful (Source 3).

step by step

underdrawing→underpainting→refining→finishing

underdrawing

step 01
Sketch the likeness of the subject onto the prepared canvas. Focus on accurate proportions to ensure the 'likeness is great,' as was the standard for successful portraiture (Source 1, Source 3).
Tip — Ensure the drawing is secure but not so heavy that it interferes with the transparent glazes later.
Direct drawing

underpainting

step 02
Apply a monochrome layer (grisaille) using black, ultramarine, and white mixed with oil of copavia or linseed oil. This establishes the light and shadow structure without color (Source 2).
Tip — Mentally extract red and yellow colors, focusing on what remains in nature if those colors were absent (Source 2).
Grisaille

refining

step 03
Allow the grisaille to dry completely. Then, apply transparent coats of color (glazing) and semi-opaque layers (scumbling) using red and yellow tones to build up the flesh and uniform colors (Source 2).
Tip — Glazing adds depth and transparency, while scumbling over darker grounds can create coldness or grey blooms (Source 2).
Glazing and Scumbling

finishing

step 04
Refine the likeness and details. Abbott’s success relied on the approval of the sitter, so ensure the facial features are recognizable and accurate (Source 1).
Tip — Check the likeness against the subject or reference images to ensure it meets the standard of a 'good record of their appearance' (Source 3).
Detailing

critical techniques

Glazing

Applying a transparent coat of color over a dry underpainting. This was a common practice among old masters and contemporaries like Reynolds to achieve depth and luminosity (Source 2).

Scumbling

Applying semi-opaque paint over a darker ground. This technique allows the underlying painting to show through, often creating a grey bloom or coldness effect (Source 2).

Grisaille Underpainting

Painting the initial layers in monochrome (black, ultramarine, white) to establish form before adding color. This method was cited by Sir Joshua Reynolds as his established method (Source 2).

common pitfalls

→Applying color before the grisaille is completely dry, which can muddy the transparent glazes (Source 2).
→Failing to achieve a recognizable likeness, which was the primary goal of portrait painting in this era (Source 3).
→Using modern pigments that yellow excessively; historically, lead white was preferred for its stability and opacity (Source 4).

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 Nelson’s uniform, pose, and background are not described in the sources.
·Abbott’s specific palette choices for this painting are not detailed, only general period practices.
·The exact dimensions and canvas preparation method used by Abbott are not specified.
·Whether Abbott used a specific varnish or final protective layer is not mentioned.

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 Techniques of grisaille, glazing, scumbling, and use of oil of copavia.

cross-referenced from

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

Wikipedia bio — Lemuel Francis Abbott↗
- Biography and Works — applied to Context of the painting, sitter approval, and Abbott's specialization in portraiture.
Wikipedia: Portrait painting↗
- Portrait painting — applied to Goals of likeness and historical context of the genre.
Wikipedia: Oil painting↗
- Oil painting — applied to Materials such as linen support, linseed oil, and lead white pigment.