plate no. 6473

Samuel Crompton

oil, canvasBaroqueportraitportraitfiguremanclothingwigpaper

recreation guide

Joseph Wright of Derby’s *Samuel Crompton* (1780) is a portrait that exemplifies the artist’s mastery of tenebrism and dramatic chiaroscuro, techniques for which he is historically noted (Source 7). Wright specialized in portrait painting and is acclaimed for expressing the spirit of the Industrial Revolution through his work, often depicting subjects associated with the Lunar Society or industrial patrons (Source 7, Source 8). While specific visual details of Crompton’s attire or pose are not described in the provided sources, the painting likely employs Wright’s characteristic use of brilliant light against deep shade to create a striking, individual production (Source 2). The work reflects the Baroque influence on Wright’s style, particularly in the handling of light and shadow to emphasize form and drama (Source 1, Source 7).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Red Ochre, Yellow Ochre)	Primary pigments for underpainting and glazing, consistent with Reynolds’ method cited in relation to old masters (Source 4).	Standard tube oils
Oil of Copavia (or modern linseed/walnut oil)	Medium for the first and second paintings, as described by Sir Joshua Reynolds (Source 4).	Linseed oil or Walnut oil
Varnish	Mixed with oil for later glazing stages to achieve transparency and depth (Source 4).	Dammar varnish or modern painting medium
Canvas	Support for the oil painting.	Linen or cotton canvas

preparation

surface prep

Prepare a standard oil ground on canvas. While specific priming methods for this exact portrait are not detailed, Wright’s practice as a sound craftsman implies a stable, absorbent ground suitable for layering (Source 1). The preparation should allow for the application of a monochrome underpainting (grisaille) which is central to the glazing technique described (Source 4).

underdrawing

The sources do not specify Wright’s underdrawing method for this portrait. However, as a portrait of a specific individual, a precise initial drawing would be necessary to capture the likeness. The sources emphasize the importance of being a 'sound craftsman' with knowledge of medium capacities (Source 1).

underpainting

Begin with a monochrome underpainting (grisaille). The sources suggest mentally extracting red and yellow colors to establish the tonal structure first (Source 4). This grisaille should be allowed to dry completely before proceeding to color glazing (Source 4). This method aligns with the practice of old masters and is recommended for achieving depth and control over light and shadow (Source 4).

color palette

Ultramarine

Pure ultramarine

Used in the initial underpainting stages along with black and white, as per Reynolds’ method (Source 4).

White

Lead white or titanium white

Establishing highlights and tonal values in the grisaille and subsequent layers (Source 4).

Black

Ivory black or lamp black

Creating deep shadows and defining forms in the underpainting (Source 4).

Red and Yellow tones

Red ochre, yellow ochre, vermilion

Applied as transparent glazes over the dry grisaille to introduce color, particularly in flesh tones and drapery (Source 4).

composition

The sources do not describe the specific composition of *Samuel Crompton*. However, Wright’s portraits are characterized by dramatic chiaroscuro and tenebrism, which likely influence the compositional balance of light and dark areas (Source 7). The composition would aim to highlight the subject through contrast, consistent with Wright’s other works like *A Philosopher Lecturing on the Orrery* (Source 2). General composition principles suggest using line, shape, and value to guide the viewer’s eye (Source 6).

step by step

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

underdrawing

step 01
Sketch the portrait lightly on the prepared canvas, focusing on accurate proportions and likeness.
Tip — Ensure the drawing is secure but not too dark, as it will be covered by subsequent layers.
Initial drawing

underpainting

step 02
Apply a monochrome grisaille using black, ultramarine, and white mixed with oil of copavia. Establish the full range of tonal values from deep shadows to bright highlights.
Tip — Mentally extract red and yellow colors to focus on form and light structure (Source 4).
Grisaille underpainting

first pass

step 03
Allow the grisaille to dry completely. Then, begin glazing with transparent red and yellow tones using oil and varnish mixed as a medium.
Tip — Apply glazes thinly to allow the underlying tonal structure to show through, enhancing depth (Source 4).
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to adjust tones and add texture, particularly in areas where the glaze might be too dark or cold.
Tip — Scumbling over darker grounds can create a grey bloom or coldness, which may be desirable for certain effects (Source 4).
Scumbling

finishing

step 05
Refine the chiaroscuro effects, ensuring the contrast between light and dark is dramatic and well-defined, consistent with Wright’s tenebrist style.
Tip — Pay attention to the juxtaposition of tones to enhance the gradation of light (Source 3).
Chiaroscuro/Tenebrism

varnishing

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

critical techniques

Chiaroscuro and Tenebrism

Wright is notable for his use of tenebrism, an exaggerated form of chiaroscuro, which emphasizes the contrast of light and dark. This technique is crucial for creating the dramatic effect seen in his candlelit subjects and portraits (Source 7).

Glazing and Scumbling

These techniques involve applying transparent or semi-opaque layers of color over a dry underpainting. Glazing adds depth and richness, while scumbling can adjust tones and add texture. This method was practiced by old masters and is recommended for achieving complex color effects (Source 4).

Simultaneous Contrast

Understanding how colors affect each other when placed side by side can enhance the vibrancy and harmony of the painting. For example, placing a red tone next to a green tone can make the red appear redder (Source 5).

common pitfalls

→Over-modeling or being too tied down to the outline, which can result in a stiff appearance. The sources suggest copying works like Reynolds’ 'Portraits of Two Gentlemen' to check this tendency (Source 1).
→Failing to allow the grisaille to dry completely before glazing, which can lead to muddying of colors and loss of transparency (Source 4).
→Neglecting the principles of simultaneous contrast, which can result in dull or harmonious color interactions (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 details of Samuel Crompton’s appearance, clothing, and pose are not described in the sources.
·The exact dimensions and aspect ratio of the original painting are not provided.
·Wright’s specific underdrawing materials or methods for this portrait are not detailed.
·The specific background elements or setting of the portrait are not described.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting — ON COPYING↗
- ON COPYING — applied to Advice on avoiding over-modeling and improving finish through copying (Source 1).
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Principles of chiaroscuro and simultaneous contrast (Source 3).
The Practice of Oil Painting — COLOURING A MONOCHROME↗
- COLOURING A MONOCHROME — applied to Technique of glazing and scumbling over a grisaille underpainting (Source 4).
The Science of Painting↗
- 4. When two colours separated... — applied to Effects of complementary colors and simultaneous contrast (Source 5).

cross-referenced from

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

Wikipedia bio — Joseph Wright — part 3↗
- part 3 — applied to Description of Wright’s use of dramatic chiaroscuro and tenebrism (Source 2).
Wikipedia bio — Joseph Wright — part 1↗
- part 1 — applied to Context on Wright’s specialization in portraiture and use of tenebrism (Source 7).

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

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