plate no. 3087

Richard Cheslyn

oil, canvasBaroqueportraitportraitfigurechairbookclothingtable

what to study here

It shows how a near-black ground, one bright wig and warm transparent shadows can build a convincing seated figure with very few value zones.

Start with the value structure. The background is close to one unified near-black, so the figure has to separate through light alone. The white wig is the brightest accent and the first thing the eye lands on, with the pale paper as a second bright note. Between them sits the golden-tan coat, which carries the mid-tones and runs as a descending diagonal with the paper. Squint and the figure reads as three zones: face, torso, background. Look at the face shadows. They are warm and transparent, not opaque black, so the flesh keeps its sense of living tissue under a hard light from above left. Study the edges as well: crisp where the lit wig meets the dark ground, softer where the face turns away from the light. The coat shows directional strokes that follow the drape, while the hands are simplified and work through value clarity rather than detail. The task for a student is to hold a very wide value range without letting the shadows go dead or the edges go uniformly sharp.

key decision

Wright holds the background as one unified near-black and puts the strongest light on the wig, so the edge against the dark carries the sculptural effect. He keeps facial shadows warm and transparent instead of opaque black.

recreation guide

This recreation focuses on Joseph Wright of Derby’s 1777 portrait of Richard Cheslyn. Wright is historically significant as a pioneer of tenebrism in English art, an exaggerated form of chiaroscuro that emphasizes stark contrasts between light and dark (Source 5). While Wright is most famous for his candlelit scientific scenes, such as 'An Experiment on a Bird in the Air Pump,' his portraits from this period share the same dramatic lighting principles, often described as 'brilliant light on shade' (Source 6). The artwork likely employs the 'laws of contrast' to heighten the visual impact of the subject, using juxtapositions of tone to create a true gradation of light rather than relying on flat modeling (Source 3).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Red Ochre, Yellow Ochre)	Primary palette for underpainting and glazing	—
Oil of Copavia or Linseed Oil	Medium for mixing paints, specifically noted in Reynolds' method which Wright likely knew	Stand oil or walnut oil
Canvas	Support surface	—
Varnish	For glazing and finishing, as per old master techniques	Dammar varnish

preparation

surface prep

Prepare a standard oil-primed canvas. While specific ground colors for this portrait are not detailed in the sources, Wright’s practice involved a strong command of the medium’s capacities (Source 1). A neutral or warm-toned ground is consistent with 18th-century English portraiture to facilitate the glazing techniques described in Source 7.

underdrawing

The sources do not specify Wright’s underdrawing method for this specific portrait. However, general advice for copying works suggests that if one is 'too much tied down to outline,' one should study works that check tendencies to smallness (Source 1). Wright’s style is characterized by broad masses and dramatic lighting rather than fussy linear detail, suggesting a loose, tonal underdrawing rather than a rigid contour sketch.

underpainting

Employ a grisaille (monochrome underpainting) using black, ultramarine, and white, as described in Sir Joshua Reynolds’ method which was contemporary to Wright (Source 7). This establishes the 'chiaro-scuro' effects before color is introduced. The goal is to extract the red and yellow colors mentally, translating what would be left in nature if they were not present (Source 7).

color palette

Ultramarine

Pure ultramarine

Underpainting and creating cool shadows; Wright’s palette likely relied on this for depth

White

Lead white or modern titanium white

Highlights and mixing with ultramarine/black for the grisaille

Black

Ivory black or lamp black

Deep shadows in the tenebrist style

Red/Yellow Tones

Red ochre, yellow ochre, vermilion

Glazing over the grisaille to add flesh tones and warmth, applied as transparent coats

composition

Specific compositional details of Richard Cheslyn’s pose or background are not described in the provided sources. However, Wright characteristically used dramatic chiaroscuro to focus attention on the subject, often obscuring backgrounds in shadow to enhance the 'brilliant light on shade' effect (Source 6). The composition likely relies on the 'law of simultaneous contrast,' where juxtaposing flat tints of different tones creates a true gradation of light (Source 3).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the basic forms loosely, avoiding rigid outlines. Focus on the broad masses of light and shadow.
Tip — Do not get tied down to the outline; Wright’s style avoids 'smallness' and over-modeling (Source 1).
Loose tonal sketching

underpainting

step 02
Create a grisaille using black, ultramarine, and white mixed with oil of copavia. Establish the full range of values from deepest shadow to brightest highlight.
Tip — Mentally extract red and yellow colors, focusing on the structural light and dark forms (Source 7).
Grisaille underpainting

first pass

step 03
Once the grisaille is dry, begin glazing and scumbling. Apply transparent coats of red and yellow tones over the underpainting.
Tip — Glazing is a transparent coat; scumbling is semi-opaque. Use these to tint the engraving-like underpainting (Source 7).
Glazing and Scumbling

refining

step 04
Enhance the contrast between light and dark areas. Use the law of simultaneous contrast: place complementary colors or contrasting tones next to each other to intensify their appearance.
Tip — If a color is too pale, surround it with its complement to make it appear more intense (Source 4).
Simultaneous Contrast

finishing

step 05
Refine the highlights and deepest shadows to achieve the tenebrist effect. Ensure the transition from light to dark is dramatic, characteristic of Wright’s candlelit style.
Tip — Focus on the 'brilliant light on shade' effect, ensuring the light source feels intense and localized (Source 6).
Tenebrism

critical techniques

Tenebrism

An exaggerated form of chiaroscuro emphasizing stark contrast between light and dark, central to Wright’s style (Source 5).

Glazing and Scumbling

Applying transparent and semi-opaque layers over a dry monochrome underpainting to build color and depth, a method used by old masters and Reynolds (Source 7).

Simultaneous Contrast

Using juxtaposition of colors to enhance their intensity; e.g., red appears redder next to green (Source 4).

common pitfalls

→Over-modeling or getting 'tied down to outline,' which leads to 'smallness' and lacks the broad mass quality of Wright’s work (Source 1).
→Ignoring the drying time of the grisaille before glazing, which can muddy the colors (Source 7).
→Failing to exploit the law of contrast, resulting in flat, unvibrant colors instead of the 'true gradation of light' (Source 3).

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 Richard Cheslyn’s clothing, facial expression, and pose are not described in the sources.
·The exact background setting of the portrait is not detailed.
·Wright’s specific pigment choices for this particular portrait are not listed, only general period practices.

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 Advice on avoiding over-modeling and focusing on broad masses (Source 1).
- COLOURING A MONOCHROME — applied to Technique of grisaille underpainting and glazing (Source 7).
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints — applied to Principles of chiaroscuro and gradation of light (Source 3).
The Science of Painting↗
- 4. When two colours separated by more than two others — applied to Use of complementary colors to enhance intensity (Source 4).

cross-referenced from

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

Wikipedia bio — Joseph Wright↗
- part 5 — applied to Context on Wright’s use of tenebrism and candlelit subjects (Source 5).
- part 6 — applied to Description of 'brilliant light on shade' and dramatic chiaroscuro (Source 6).

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

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

A man of mature years sits turned toward the viewer's left, his form illuminated by a sharp light source from above and left, creating dramatic chiaroscuro against a nearly black background. His white wig catches the strongest light, acting as an anchor point that draws the eye immediately; the warm golden-tan coat and pale paper he holds form a descending diagonal across the composition. The dark wooden chair and table define the lower boundary, while the void of shadow behind his head emphasizes the sculptural quality of his face and the refined clothing.

value structure

Extreme value separation: nearly black background (one unified dark value), strong mid-tones in the coat and flesh, and bright accents in the wig and paper. The shadows on the face are warm and transparent rather than opaque black, creating a sense of flesh under light rather than stark division. The transition from light face to shadowed neck to illuminated chest demonstrates careful observation of how form turns; squint and the figure reads as three distinct value zones (face, torso, background).

observed palette and mixes

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Ivory black + raw umber (cool deep shadow)
Deepest background, far chair frame, lower right void
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Ivory black + yellow ochre (warm-black shadow base)
Mid-shadow areas, definition of chair back, shadow planes of face
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Raw umber + burnt sienna + ivory black (warm dark neutral)
Shadows in the coat, darker folds, warm shadow accents
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Yellow ochre + burnt sienna (golden-ochre base)
Primary color of coat, warm mid-tone throughout upper body
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Yellow ochre + ivory black + viridian (olive warm-dark)
Transition tones in coat shadows, subtle modeling in flesh shadow
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Titanium white + touch of yellow ochre (warm cream)
The wig, paper highlights, brightest light on face

edges and brushwork

Crisp, clean edges where the lit wig meets background create sculptural clarity; softer edges on shadow faces of the head where form turns away from light. The coat shows visible brushwork indicating fabric weave and weight, with directional strokes following the garment's drape. Hands are simplified but convincing, achieved through value clarity rather than detail; the paper edges are sharp and decisive where they catch light.

a working sequence

01
Establish proportions and value map in thin wash
Sketch the seated figure's proportions lightly in charcoal, then lay in a thin imprimatura of burnt umber + ivory black to establish where the deepest shadows live—primarily the background and chair. Define the three-quarter turn of the figure; the head should tilt slightly downward as the body turns. Block in approximate light and shadow zones with thin washes to establish the value structure before mixing full paint.
02
Mass in the background and chair structure
Using a mix of ivory black + raw umber with slight warmth, establish the nearly solid dark background. Paint around the figure's outline to sharpen its silhouette. Add the dark wooden chair frame with raw umber + ivory black, following the visible edge definition on the left side. The background should feel like a unified void, not textured.
03
Lay in flesh tones and facial structure
Begin with a mid-tone flesh mix: titanium white + yellow ochre + burnt sienna + touch of ivory black. Paint the illuminated side of the face with this mix, then shift to warmer (more ochre, less black) for the brightest cheek and brow. Establish the shadow plane of the face with a warmer, darker version (add more burnt sienna and ivory black). Keep these transitions soft—the lighting reads as continuous, not abrupt.
04
Paint the wig with warm whites
Mix titanium white + yellow ochre (warm cream, not cool white). Paint the entire wig form, then darken the shadow side with the same mix + ivory black. The wig should have a distinct edge where it meets the dark background, but soften slightly where it meets flesh tones. Notice the wig casts a subtle shadow on the upper left of the face; paint this relationship carefully.
05
Establish the golden-tan coat
Block in the coat with yellow ochre + burnt sienna as your base, keeping it warmer in the light and cooler (add viridian or ivory black) in shadow. Follow the garment's sculptural form—note the diagonal of the lapel, the weight of fabric at the wrists, the turn of the shoulder. The coat defines the volume of the body; use shadow transitions (not lines) to show its three-dimensionality. The buttons should be small, warm accents rather than detailed objects.
06
Paint the paper and hands
The paper held in the right hand is one of the brightest elements—titanium white with minimal ochre undertone. Paint it as a unified light shape with a soft shadow edge where it recedes. The hands emerge from the coat sleeves as simplified forms; use flesh tone for the visible flesh and warm ochre for the shirtsleeve cuff. Don't overwork the hands; their convincingness comes from value clarity and placement within the composition.
07
Refine values and warm/cool relationships
Step back and check the overall value hierarchy: is the wig still the brightest light? Does the coat read as golden-tan between the face and background? Strengthen the background darkness if the figure doesn't separate clearly. Add warm ochre touches to the shadow areas of the face and neck to maintain optical unity; cool the deepest chair shadows slightly. The transition from neck to torso should show how light wraps around form.
08
Define edges and final details
Sharpen edges where strong light meets dark shadow (wig outline, paper edge, lapel boundary). Keep shadow edges softer, especially around the cheek and jaw. Fine-tune the warmth in the wig—it should read as cream with golden undertones, not white. Check the sitter's gaze direction and ensure the tilt of the head feels naturalistic. A light glaze of ochre + white over cooler tones can optically unify the warm color harmony across the figure.

where studies of this painting go wrong

Painting the wig as cool white or gray instead of warm cream—Wright consistently leans yellow ochre into the whites, which keeps the portrait unified and warm.
Softening the edge between wig and background too much; the crisp edge is essential to the portrait's sculptural reading and the drama of the lighting.
Making the coat too saturated, too orange, or too yellow—it's a sophisticated golden-tan (ochre + just enough burnt sienna) that sits between warm and neutral.
Losing the subtlety of the shadow planes on the face by using pure black or too-dark mixes; shadows on flesh should feel transparent and warm, not opaque.
Neglecting the relationship between the paper and hand—if the paper reads as detached or floats awkwardly, the whole seated gesture becomes unconvincing.

measured difficulty