plate no. 3424

Sir Alexander Fleming, Frs, the Discoverer of Penicillin

Ethel Léontine Gabain, 1944

oilNeo-Romanticismgenre paintingfigurescientistlaboratorytableequipmentwindow

recreation guide

This artwork, 'Sir Alexander Fleming, Frs, the Discoverer of Penicillin' (1944), is a genre painting executed in oil by Ethel Léontine Gabain. Gabain was commissioned by the War Artists' Advisory Committee (WAAC) during World War II to document women’s work and medical advancements, including Fleming’s discovery of penicillin (Source 3). The work falls under the genre of genre painting, which depicts aspects of everyday life or common activities, often portraying ordinary people or specific subjects in a realistic or romanticized manner (Source 4). While Gabain’s specific compositional choices for this portrait are not detailed in the provided texts, her practice involved traveling across Britain to record subjects in their working environments, suggesting a focus on contextual realism (Source 3). The painting likely employs the oil medium’s capacity for detailed finish and tonal gradation, consistent with the Neo-Romantic style’s emphasis on emotional resonance and craftsmanship.

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (solid pigments)	Primary medium for color application	High-quality tube oils
Linseed oil or similar agglutinant	To grind pigments and bind them to the surface	Refined linseed oil
Canvas or panel	Support for the oil painting	Primed linen or cotton canvas
Earth pigments (ochres, marls)	For broken tones and fixed colors that cover well and dry easily	Natural/Burnt Umber, Sienna, Ochre
White lead or chalk white	For highlights and mixing tints	Titanium White or Zinc White (for safety)
Black pigments (ivory, grapestone)	For shadows and depth	Ivory Black or Mars Black

preparation

surface prep

The surface should be prepared to accept oil paints, which are described as the 'furthest developed' medium requiring proper agglutination (Source 2). While Gabain’s specific ground preparation is not detailed, standard practice for oil painting involves a stable, primed surface to ensure the solidity of the coloring matters (Source 2).

underdrawing

Gabain’s preparatory methods for this specific work are not described in the sources. However, as a genre painter documenting real subjects, she likely employed a careful underdrawing to capture the likeness and setting accurately. The sources advise that copying works can help correct weaknesses in outline or modeling (Source 1), suggesting a disciplined approach to initial structure.

underpainting

The sources do not specify Gabain’s underpainting technique. However, general oil painting principles suggest using broad masses first, then refining details (Source 1). The use of earth tones for broken tones is recommended for their covering power and ease of drying (Source 5).

color palette

White

Chalk white or white lead

Highlights and flesh tones, consistent with historical palettes (Source 5)

Yellow Ochre

Natural ochre

General use in this artist's palette; provides fixed, covering tones (Source 5)

Red Ochre

Red ochre

General use in this artist's palette; provides fixed, covering tones (Source 5)

Black

Ivory or grapestone black

Shadows and contrast, part of the ancient four-color palette (Source 5)

Earth tones

Ochres, marls, browns

Broken tones and background elements, valued for solidity and drying speed (Source 5)

composition

Specific compositional details of this painting are not provided in the sources. However, genre paintings often aim to depict everyday life realistically or romantically (Source 4). Gabain’s work for the WAAC involved recording subjects in their specific environments, such as laboratories or factories, implying a composition that integrates the figure with their surroundings (Source 3). General composition principles suggest avoiding exact bisections and creating a center of interest to guide the viewer’s eye (Source 7).

step by step

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

underdrawing

step 01
Sketch the figure of Sir Alexander Fleming and the laboratory setting lightly, focusing on accurate proportions and placement.
Tip — Ensure the subject is not facing directly out of the image if possible, to maintain engagement (Source 7).
Preparatory drawing

underpainting

step 02
Apply broad masses of color using earth tones and ochres to establish the basic forms and lighting.
Tip — Use colors that cover well and dry easily, such as natural ochres and marls (Source 5).
Blocking in

first pass

step 03
Refine the forms, paying attention to the modifications of light on the model.
Tip — Be aware of simultaneous contrast; adjacent colors will affect each other’s appearance (Source 6).
Modeling

refining

step 04
Add details to Fleming’s face, clothing, and the laboratory equipment, ensuring a balance between detailed areas and 'rest' areas.
Tip — Avoid over-modeling; check against the tendency to smallness by referencing works like Reynolds’s portraits if needed (Source 1).
Detailing

finishing

step 05
Adjust tones and colors to harmonize the composition, ensuring the inherent colors of the objects are respected.
Tip — Use the law of simultaneous contrast to perceive and imitate modifications of tone and color accurately (Source 6).
Harmonization

varnishing

step 06
Apply a varnish to protect the oil painting and enhance the depth of colors.
Tip — Ensure the painting is completely dry before varnishing.
Varnishing

critical techniques

Simultaneous Contrast

Understanding that adjacent colors affect each other’s appearance, allowing the painter to perceive and imitate subtle modifications of light and tone (Source 6).

Use of Earth Pigments

Employing ochres, marls, and other earth tones for their solidity, covering power, and ease of drying, which are essential for broken tones (Source 5).

Craftsmanship in Oil

Grinding colors with agglutinants to ensure they are reduced to the smallest particles, suitable for the style of painting (Source 2).

common pitfalls

→Over-modeling or being too tied down to the outline, which can result in a stiff appearance (Source 1).
→Ignoring the effects of simultaneous contrast, leading to inaccurate color perception and application (Source 6).
→Using colors that are not solid or may chemically react, compromising the longevity of the painting (Source 5).
→Creating a composition that lacks a center of interest or leads the eye out of the picture prematurely (Source 7).

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 painting (e.g., Fleming’s exact pose, clothing, laboratory equipment) are not described in the sources.
·Gabain’s specific brushwork or layering technique for this portrait is not detailed.
·The exact palette used for this specific work is not recorded, only general historical and artist practices.
·Preparatory sketches or studies for this specific painting are not mentioned.

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 correcting weaknesses in outline and modeling, and the importance of craftsmanship (Source 1)
The Science of Painting↗
- Oils, Grinding of Colours — applied to Preparation of oil paints and the importance of solid pigments (Source 2)
- Colouring Substances — applied to Use of earth pigments and historical color palettes (Source 5)
Laws of Contrast of Colour↗
- 315-318 — applied to Understanding simultaneous contrast and its effect on color perception (Source 6)
- 6 — applied to Chiaroscuro and gradation of light through juxtaposition of tones (Source 8)

cross-referenced from

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

Wikipedia bio — Ethel Léontine Gabain↗
- Part 3 — applied to Context of the commission, subject matter, and Gabain’s role in documenting wartime medical advancements (Source 3)
Wikipedia: Genre painting↗
- Part 1 — applied to Definition and characteristics of genre painting, informing the approach to depicting everyday life (Source 4)
Wikipedia: Composition (visual arts)↗
- Part 6 — applied to General principles of composition, such as center of interest and guiding the viewer’s eye (Source 7)