plate no. 9318

Study of a Girl in Profile

oilRomanticismsketch and studyportraitfigurewomanprofilehairclothing

recreation guide

Franz Xaver Winterhalter’s 'Study of a Girl in Profile' (1862) represents a departure from his most famous public persona as the 'Painter of Princes,' who specialized in flattering, large-scale court portraiture for royalty such as Empress Eugénie and Queen Victoria (Source 2, Source 3). While Winterhalter was often dismissed by critics as a mere fashion illustrator who lacked serious artistic depth, his private studies reveal a rigorous engagement with academic traditions and the 'fine relations' of line and mass (Source 3, Source 5). This work, categorized as a sketch and study, likely served as a preparatory exercise or a private exploration of form, distinct from the 'official pomp' of his commissioned works (Source 3). The piece reflects the Romantic era’s interest in individual character and the technical mastery of oil painting, utilizing methods that were standard among the 'old masters' but often overlooked by modern painters of the time (Source 1).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, Black, White, Red ochre/vermilion, Yellow ochre)	Primary pigments for grisaille underpainting and subsequent glazing/scumbling	High-quality tube oils; historically, pigments were ground by hand
Linseed oil or Oil of Copavia	Medium for mixing paints and creating transparent glazes	Stand oil or refined linseed oil; Copavia is a historical resinous oil
Canvas or Panel	Support for the oil painting	Linen canvas primed with gesso
Varnish	Mixed with oil for later glazing stages to increase transparency and flow	Dammar varnish or modern painting medium

preparation

surface prep

The surface should be prepared with a ground that allows for the 'glazing and scumbling' techniques described in historical practice. While Winterhalter’s specific ground preparation for this study is not explicitly detailed in the sources, the general practice of the period involved a stable, often white or light-toned ground to facilitate the layering of transparent colors (Source 1). The surface must be smooth enough to allow for the fine finish characteristic of Winterhalter’s 'flattering' style, which relied on precise rendering rather than heavy impasto (Source 2).

underdrawing

Winterhalter’s approach to drawing was rooted in the academic tradition, where the 'outline basis' remained crucial for holding the picture together, even as artists moved toward more visual realism (Source 4). For a profile study, the underdrawing would likely focus on the precise contour of the face and hair, establishing the 'fine relations of line' before color is applied (Source 5). The artist would have used a charcoal or graphite sketch to define the proportions, ensuring the 'likeness' that he was renowned for (Source 3).

underpainting

The underpainting likely follows the 'grisaille' method, a monochrome base that establishes light and shadow without color. This technique involves 'mentally extracting the red and yellow colours' to create a neutral foundation (Source 1). Winterhalter, trained in the academic tradition, would have used a mixture of black, ultramarine, and white to create this tonal structure, as noted in Sir Joshua Reynolds’ description of a similar method (Source 1). This step is critical for achieving the depth and luminosity characteristic of his finished works.

color palette

Ultramarine

Pure ultramarine mixed with white and black

Creating the cool shadows and mid-tones in the grisaille underpainting

Black

Ivory black or lamp black

Deepening shadows and defining contours in the monochrome stage

White

Lead white (historically) or Titanium white (modern)

Highlights and mixing with ultramarine/black for the grisaille

Red and Yellow tones

Red ochre, vermilion, yellow ochre

Glazing and scumbling over the dry grisaille to introduce flesh tones and warmth

composition

The composition of a profile study focuses on the 'fine relations of line, mass and color' (Source 5). Winterhalter’s skill lay in combining 'likeness with flattery,' suggesting that the profile would be arranged to emphasize the sitter’s most elegant features (Source 3). The 'outline basis' is key here, as the profile view relies heavily on the contour line to define the form (Source 4). The spacing and arrangement of the head within the frame would follow principles of harmony, ensuring that the 'emotional intentions' of the artist are expressed through the form (Source 4).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the profile of the girl using charcoal or graphite, focusing on the precise contour of the face, nose, lips, and chin.
Tip — Ensure the proportions are accurate, as Winterhalter was known for his likeness (Source 3).
Outline basis

underpainting

step 02
Create a grisaille underpainting using black, ultramarine, and white. Establish the light and shadow structure without using red or yellow tones.
Tip — Mentally extract red and yellow colors to focus on the tonal values (Source 1).
Grisaille

first pass

step 03
Allow the grisaille to dry completely. This is crucial before applying any glazes.
Tip — Rushing this step can lead to muddy colors and poor adhesion.
Drying time

refining

step 04
Apply transparent glazes of red and yellow tones over the grisaille using oil as a medium. This mimics the process of tinting an engraving with watercolors.
Tip — Use thin, transparent layers to build up color depth (Source 1).
Glazing
step 05
Use scumbling (semi-opaque painting) to adjust highlights and cool tones, particularly in areas where the underlying grisaille should show through.
Tip — Scumbling over darker grounds can create a 'grey bloom' or coldness, which may be desirable for certain shadows (Source 1).
Scumbling

finishing

step 06
Refine the details, particularly the eyes and lips, to achieve the 'flattering' likeness Winterhalter was known for.
Tip — Avoid over-modeling, which can detract from the 'large sense of design' (Source 4).
Finish

critical techniques

Glazing

Applying transparent coats of color over a dry underpainting to build depth and luminosity. This was a common practice among old masters and is essential for Winterhalter’s smooth, polished finish (Source 1).

Scumbling

Using semi-opaque paint to modify the underlying tones, particularly for highlights or cool shadows. This technique allows the artist to 'feel' the underlying painting (Source 1).

Grisaille

Creating a monochrome underpainting to establish form and value before adding color. This method helps in 'mentally extracting' color to focus on structure (Source 1).

common pitfalls

→Applying glazes before the underpainting is completely dry, which can lead to cracking and muddy colors (Source 1).
→Over-modeling details, which can obscure the 'large sense of design' and emotional appeal of the work (Source 4).
→Using too much opaque paint in the glazing stage, which defeats the purpose of transparency and depth (Source 1).
→Neglecting the 'outline basis,' which can result in a lack of structural integrity in the portrait (Source 4).

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 Winterhalter for this particular study are not detailed in the sources.
·The exact dimensions and support material (canvas vs. panel) for this specific work are not provided.
·The lighting conditions and specific pose of the girl in the study are not described in the sources, so the recreation must rely on general principles of profile studies.
·Winterhalter’s personal notes on his technique for this specific piece are not available, so the guide relies on general 19th-century academic practices and Reynolds’ descriptions.

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 Underpainting, glazing, and scumbling techniques
The Practice and Science of Drawing↗
- STUDY BY WATTEAU — applied to Importance of outline and chiaroscuro
Composition↗
- PRINCIPLES OF COMPOSITION — applied to Harmony and spacing in composition