plate no. 9750

Self-portrait

oil, canvasRococoself-portraitportraitwomanhatdresshairrococo

recreation guide

Angelica Kauffman’s 1785 Self-Portrait is a work that situates the artist within the intellectual tradition of the Renaissance, specifically evoking the iconography of the Sibyls as seen in the works of Raphael and Domenichino (Source 1). The painting depicts Kauffman wearing a turban, looking directly at the viewer, and holding a pen and her drawing briefcase, thereby asserting her identity as a working artist and scholar rather than merely a muse (Source 1). As a member of the Royal Academy and a contemporary of Sir Joshua Reynolds, Kauffman operated within a milieu that valued the 'grand style' and classical composition, yet her specific choice of attire and props creates a unique narrative of female artistic agency (Source 4). The work is executed in oil on canvas, a medium that allows for the rich color density and layered transparency characteristic of 18th-century academic painting (Source 5).

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (pigments mixed with drying oil)	Primary medium for the painting	Modern tube oil paints mixed with linseed or walnut oil
Canvas	Support surface	Linen or cotton canvas, primed
Turpentine	Thinner for initial layers and cleaning	Odorless mineral spirits or pure gum turpentine
Varnish (resin-based)	For glazing and final protection	Dammar or mastic varnish
Charcoal or Graphite	Underdrawing	Vine charcoal or graphite pencil

preparation

surface prep

The canvas should be prepared with a ground suitable for oil painting. While Kauffman’s specific ground recipe is not detailed in the sources, the period practice involved preparing a surface that could support the 'richer and denser color' and 'layers' characteristic of oil painting (Source 5). A neutral or warm-toned ground is often preferred in academic traditions to facilitate the glazing techniques described in contemporary treatises.

underdrawing

Kauffman likely employed a precise underdrawing to establish the composition, particularly given the specific iconographic elements (turban, pen, briefcase) that require accurate placement to convey the Sibyl-like narrative (Source 1). The drawing would need to capture the direct gaze and the specific gestures of holding the pen and briefcase.

underpainting

A monochromatic underpainting (grisaille) is a recommended approach, consistent with the academic practices of the period and the techniques described in contemporary manuals. This involves creating a value structure using neutral tones before applying color glazes (Source 2). This method allows the artist to 'mentally extract the red and yellow colours' and establish the form and light before introducing hue (Source 2).

color palette

Neutral Grays/Browns

Black, white, and earth tones

Underpainting and establishing value structure

Warm Earth Tones

Ochres, umbers

Skin tones and clothing, applied via glazing

Cool Blues/Greens

Ultramarine, verdigris

Contrast and depth, particularly in shadows or background

Reds/Yellows

Vermilion, yellow ochre

Glazing to add warmth and vitality to the figure

composition

The composition centers on the artist’s face and upper body, with the gaze directed straight at the viewer to create an immediate connection (Source 1). The inclusion of the pen and drawing briefcase in her hands serves as a visual signature of her profession, while the turban places her within a specific artistic lineage (Source 1). The arrangement follows the Renaissance tradition of Sibyl portraits, suggesting a dignified, intellectual presence rather than a casual domestic scene (Source 1).

step by step

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

underdrawing

step 01
Sketch the composition on the prepared canvas, focusing on the placement of the head, the turban, and the hands holding the pen and briefcase.
Tip — Ensure the gaze is aligned to meet the viewer’s eye level.
Direct drawing

underpainting

step 02
Apply a monochromatic layer (grisaille) using black, white, and perhaps ultramarine to establish the full range of values from light to dark.
Tip — Mentally exclude red and yellow hues to focus purely on form and light.
Grisaille

first pass

step 03
Once the grisaille is dry, begin applying transparent glazes of color, starting with the cooler tones and moving to warmer ones.
Tip — Use oil or a mix of oil and varnish to create transparent coats of color.
Glazing

refining

step 04
Apply semi-opaque layers (scumbling) where needed to adjust tones, particularly in lighter areas or to create a 'grey bloom' effect.
Tip — Be aware that scumbling over darker grounds can tend toward coldness.
Scumbling

finishing

step 05
Refine the details of the face and hands, ensuring the expression conveys the intellectual dignity associated with the Sibyl tradition.
Tip — Avoid overworking the paint; maintain the vitality of the medium.
Detailing

varnishing

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

critical techniques

Glazing

Applying transparent coats of color over a dry underpainting to build depth and richness, a method practiced by old masters and described in contemporary texts.

Scumbling

Using semi-opaque paint to modify tones and create texture, particularly useful for adjusting the warmth or coolness of areas.

Layering

Utilizing the flexibility of oil paint to build up multiple layers, allowing for a wider range from light to dark and richer color density.

common pitfalls

→Attempting to achieve naturalistic deception at the expense of the medium's vitality, which can result in a 'meretricious attempt to deceive the eye' rather than a fine picture (Source 3).
→Overusing black to darken colors, which can cause hue shifts toward green or blue, especially in warm tones like reds and yellows (Source 7).
→Ignoring the effects of simultaneous contrast, where adjacent colors influence each other's appearance, leading to inaccurate color perception (Source 6).
→Applying glazes before the underpainting is fully dry, which can lead to muddiness or cracking.

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.

·The specific pigments used by Kauffman in this particular painting are not detailed in the sources.
·The exact dimensions of the canvas are not provided.
·Kauffman’s personal mixing ratios for oils and resins are not documented in the provided texts.
·The specific lighting conditions under which the self-portrait was painted are not described.

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 Grisaille underpainting, glazing, and scumbling techniques
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of medium use and avoiding mere deception
Laws of Contrast of Colour↗
- 315. As to the advantages the painter will find in it — applied to Color perception and simultaneous contrast

cross-referenced from

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

Wikipedia: Self-Portrait (Kauffman, 1784)↗
- Self-Portrait (Kauffman, 1784) — part 1 — applied to Composition, iconography (turban, pen, briefcase), and artistic lineage (Sibyl tradition)
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to Properties of oil paint, layering, and varnishing
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Mixing pigments and avoiding hue shifts