plate no. 2164

Simon Wilmot

oilRococoportraitportraitfigureclothinglacechildhistorical

recreation guide

This recreation guide addresses the painting of a portrait by Joseph Wright of Derby, dated to 1760. While the specific visual details of the sitter 'Simon Wilmot' are not described in the provided sources, the artwork falls within Wright’s early career, preceding his famous candlelit scenes. Wright is historically noted for his dramatic chiaroscuro and interest in light effects, even in earlier works (Source 7). The recreation should focus on the technical practices of mid-18th-century oil portraiture, which often involved a monochrome underpainting (grisaille) followed by glazing and scumbling to achieve depth and likeness (Source 2). The goal is to capture the 'inner essence' or character of the subject, rather than merely a literal likeness, consistent with the portrait genre's aim to represent moral quality and character (Source 5).

estimated time

20-30 hours over 6-8 sessions (allowing for drying times between glaze layers)

materials

7 items

steps

7 in sequence

materials

item	purpose	modern equivalent
Linseed oil	Medium to thin paint and ensure 'fat over lean' application	Refined linseed oil
Mineral spirits or turpentine	Solvent for thinning initial layers and cleaning brushes	Odorless mineral spirits (Gamsol) or turpentine
Charcoal or thinned paint	For the initial sketch/underdrawing on the canvas	Vine charcoal or raw umber thinned with solvent
Oil paints (Black, Ultramarine, White, Red, Yellow)	Core palette for grisaille and subsequent glazing	Artist-grade oil paints
Oil of Copavia (or modern substitute like stand oil)	Medium for glazing layers, as noted in Reynolds' method cited in sources	Stand oil or walnut oil for slower drying glazes
Palette knives and rags	For scraping errors or applying paint if needed	Flexible palette knives and lint-free rags
Varnish	For final glazing and protection, mixed with oil for mastery	Dammar varnish or synthetic resin varnish

preparation

surface prep

Prepare a canvas primed with a ground suitable for oil painting. While specific ground details for Wright are not in the sources, traditional oil painting requires a stable surface. Ensure the ground is dry before beginning. The 'fat over lean' rule must be respected from the start to prevent cracking (Source 1).

underdrawing

Begin by sketching the subject onto the canvas using charcoal or thinned paint (Source 1). This initial drawing establishes the composition and likeness. Since Wright’s specific preparatory methods for this 1760 portrait are not detailed, follow the traditional practice of establishing the form before applying color. Focus on capturing the 'inner essence' and character of the sitter, paying particular attention to the eyes and eyebrows, which convey the most reliable information about the subject (Source 5).

underpainting

Create a monochrome underpainting, likely a grisaille. This involves painting the forms in shades of gray, mentally extracting red and yellow tones to establish the value structure (Source 2). This layer should be allowed to dry completely before proceeding. This technique was common among old masters and helps in managing the complexity of color later (Source 2).

color palette

Black

Bone black or ivory black

Grisaille underpainting and shadows

Ultramarine

Ultramarine blue

Grisaille underpainting, mixed with black and white

White

Lead white or titanium white

Grisaille highlights and mixing tints

Red

Vermilion or red lake

Glazing and scumbling flesh tones and drapery

Yellow

Yellow ochre or lead-tin yellow

Glazing and scumbling flesh tones and highlights

composition

While the specific composition of 'Simon Wilmot' is not described, Wright’s work is characterized by dramatic lighting and chiaroscuro (Source 7). In portraiture, the composition often aims to show the inner essence of the subject, with a serious or neutral expression, relying on the eyes and eyebrows for emotional content (Source 5). The arrangement should avoid 'smallness' or being too tied down to the outline, aiming for broad masses and finish (Source 3).

step by step

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

underdrawing

step 01
Sketch the subject onto the prepared canvas using charcoal or thinned paint. Focus on accurate proportions and the character of the face, especially the eyes and eyebrows.
Tip — Ensure the sketch is secure but not too dark, as it will be covered.
Underdrawing

underpainting

step 02
Paint a grisaille (monochrome) layer using black, ultramarine, and white. Establish the light and shadow structure of the portrait. Allow this layer to dry completely.
Tip — Mentally extract red and yellow colors, focusing on value contrasts.
Grisaille

first pass

step 03
Apply the first layer of color using oil of copavia (or stand oil) as a medium. Use red and yellow tones to tint the grisaille, similar to tinting an engraving with watercolors.
Tip — Keep this layer thin and transparent.
Glazing

refining

step 04
Build up subsequent layers using the 'fat over lean' principle. Each layer should contain more oil than the previous one to ensure proper drying and prevent cracking.
Tip — Monitor drying times; oil paint dries by oxidation, taking up to two weeks.
Fat over lean
step 05
Use scumbling (semi-opaque painting) over darker areas to create coldness or gray blooms, and glazing (transparent coats) to deepen colors. Adjust translucency and sheen as needed.
Tip — Scumbling over dark grounds tends to create a gray bloom.
Scumbling and Glazing

finishing

step 06
Refine the likeness and character expression. Ensure the eyes and eyebrows convey the intended emotion. Use palette knives or rags to adjust texture or remove paint if necessary while wet.
Tip — Oil paint remains wet longer, allowing for changes in color, texture, or form.
Adjustment

varnishing

step 07
Once the painting is fully dry, apply a varnish layer. For advanced mastery, mix varnish with oil for final glazing effects.
Tip — Ensure the painting is completely dry to avoid trapping solvents.
Varnishing

critical techniques

Fat over lean

A basic rule of oil painting where each additional layer contains more oil than the layer below to prevent cracking and peeling. Essential for the longevity of the work.

Glazing

Applying transparent coats of color over a dry underpainting to build depth and richness. Used by old masters and recommended for this recreation.

Scumbling

Applying semi-opaque paint over a darker ground to create coldness or gray blooms. Useful for adjusting tones and textures.

Chiaroscuro

Wright is noted for dramatic chiaroscuro. While not explicitly detailed for this 1760 portrait, it is a hallmark of his style and should be considered in the value structure.

common pitfalls

→Applying lean layers over fat layers, which will cause the painting to crack and peel (Source 1).
→Over-modeling or being too tied down to the outline, leading to a 'small' appearance. Aim for broad masses (Source 3).
→Ignoring the drying time of oil paint, which dries by oxidation and can take up to two weeks. Rushing layers can ruin the paint film (Source 1).
→Focusing only on literal likeness rather than the 'inner essence' or character of the subject, which is the aim of great portraiture (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 visual details of the sitter 'Simon Wilmot' (clothing, pose, background) are not described in the sources.
·Joseph Wright’s specific palette for this 1760 portrait is not detailed; the guide relies on general 18th-century practices and Reynolds' methods cited in the sources.
·The exact ground preparation used by Wright for this specific work is unknown.

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, scumbling, and use of oil of copavia
- ON COPYING — applied to Advice on avoiding 'smallness' and over-modeling

cross-referenced from

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

Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to Underdrawing, fat over lean rule, drying times, and adjustment techniques
Wikipedia: Portrait painting↗
- Portrait painting — part 2 — applied to Focus on inner essence, character, and the importance of eyes/eyebrows
Wikipedia bio — Joseph Wright↗
- Joseph Wright — part 3 — applied to Context of Wright’s style, particularly chiaroscuro