plate no. 6686

Tarquinius Superbus

oilRomanticismhistory paintingfiguresgardenflowersancient Romeceremonytapestry

recreation guide

Sir Lawrence Alma-Tadema’s *Tarquinius Superbus* (1867) is a history painting that exemplifies the artist’s rigorous commitment to historical accuracy and archaeological detail, a trait heavily influenced by his mentor Louis Jan de Taeye (Source 4). The work belongs to the genre of history painting, which depicts narrative moments from mythology or history rather than static subjects (Source 2). Alma-Tadema’s approach to such works was characterized by extraordinary care in preliminary sketches and a desire to portray ancient life with precision, often referencing contemporary archaeological texts like Wilkinson’s *The Manners and Customs of Ancient Egyptians* (Source 8). While the specific visual details of *Tarquinius Superbus* are not described in the provided sources, the artist’s general practice involved a transition from early Merovingian and Egyptian subjects to a mastery of classical antiquity, marked by a refined technique that avoided the 'cheese-like' rendering of marble criticized by his earlier mentor Jan August Hendrik Leys (Source 8).

estimated time

40-60 hours over 8-12 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, Black, White, Red, Yellow)	Primary pigments for underpainting and glazing	High-quality artist-grade oil paints
Oil of Copavia	Medium for the first and second paintings, as cited by Sir Joshua Reynolds in the context of old master techniques	Stand oil or linseed oil mixed with damar resin
Varnish	Mixed with oil for later glazing stages to gain mastery over transparent coats	Damar varnish or synthetic resin varnish
Canvas or Panel	Support for the oil painting	Linen canvas primed with gesso

preparation

surface prep

The surface should be prepared to accept a monochrome underpainting. While specific preparation for *Tarquinius Superbus* is not detailed, the sources suggest a method involving a grisaille (monochrome) base that is allowed to dry completely before color is applied (Source 1). This aligns with the 'old masters' practice referenced in the texts, where the ground is established before the introduction of red and yellow tones.

underdrawing

Alma-Tadema took 'extraordinary care in the preparation of his preliminary sketches' (Source 8). For a history painting, the underdrawing would likely be precise, reflecting the artist's focus on historical accuracy and narrative clarity. The sources advise that copying works can help correct weaknesses in outline or modeling, suggesting a disciplined approach to the initial drawing phase (Source 3).

underpainting

The underpainting should be executed as a grisaille, mentally extracting red and yellow colors to establish the tonal structure (Source 1). This monochrome layer serves as the foundation for subsequent glazing. The technique involves painting with oil of copavia using black, ultramarine, and white, as described in Reynolds’ method which is cited as representative of established old master practices (Source 1).

color palette

Ultramarine

Pure ultramarine pigment

Underpainting and establishing cool tones in the grisaille

Black

Bone black or ivory black

Underpainting shadows and defining forms in the grisaille

White

Lead white or titanium white

Highlights in the grisaille and mixing for scumbling

Red and Yellow tones

Transparent reds and yellows (e.g., vermilion, ochre)

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

composition

History paintings typically contain a number of figures and depict a specific moment in a narrative (Source 2). Alma-Tadema’s compositions are known for their archaeological precision and attention to detail in settings and objects (Source 8). While the specific layout of *Tarquinius Superbus* is not described, the artist’s general habit was to ensure that every element, from draperies to architectural backgrounds, contributed to the historical veracity of the scene (Source 4, Source 8).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Create a precise preliminary sketch, paying extraordinary care to historical details and narrative clarity.
Tip — Ensure the narrative moment is clear, as history painting relies on depicting a specific story beat.
Preliminary sketching

underpainting

step 02
Paint a grisaille using black, ultramarine, and white with oil of copavia as a medium. Mentally extract red and yellow colors to establish the tonal structure.
Tip — Allow the grisaille to dry completely before proceeding.
Grisaille underpainting

first pass

step 03
Begin glazing and scumbling with oil, introducing yellow and red tones as they occur in the composition.
Tip — Treat the process like tinting an engraving with watercolors, applying transparent coats of color.
Glazing and scumbling

refining

step 04
As mastery is gained, mix varnish with oil for further glazing. Use scumbling over darker grounds to create coldness or grey blooms if needed.
Tip — Be aware that scumbling over darker grounds tends to coldness, which can be used for atmospheric effects.
Varnish glazing

finishing

step 05
Refine details, ensuring that the treatment of materials like marble or stone is realistic and not 'cheese-like,' a criticism Alma-Tadema took seriously.
Tip — Focus on the texture of materials to achieve the illusion of natural appearances without losing the vitality of the medium.
Detail refinement

critical techniques

Glazing and Scumbling

Glazing is a transparent coat of color, while scumbling is semi-opaque painting through which the underlying layer shows. This method was practiced by old masters and is essential for achieving depth and luminosity in Alma-Tadema’s style.

Historical Accuracy

Alma-Tadema was encouraged to depict historical accuracy, a trait for which he became known. This involves careful study of references and precise depiction of objects and settings.

Material Realism

The artist improved his technique to become the world's foremost painter of marble and variegated granite, avoiding flat or unrealistic textures.

common pitfalls

→Failing to let the grisaille dry completely before glazing, which can muddy the colors.
→Over-modeling or being too tied down to the outline, which can result in a stiff appearance (Source 3).
→Treating marble or stone textures poorly, resulting in a 'cheese-like' appearance (Source 8).
→Attempting to deceive the eye completely rather than expressing feeling through painted symbols, which can lead to a meretricious attempt at illusion (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 *Tarquinius Superbus* such as the exact poses of figures, clothing patterns, or room layout are not described in the sources.
·The specific color palette used for this particular painting is not detailed, only the general old master palette is referenced.
·The exact dimensions and support material (canvas vs. panel) for this specific work are not provided.

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 and glazing techniques
- ON COPYING — applied to Advice on correcting weaknesses in outline and modeling
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Importance of medium and avoiding mere deception

cross-referenced from

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

Wikipedia: History painting↗
- History painting — part 1 — applied to Genre definition and narrative focus
Wikipedia bio — Sir Lawrence Alma-Tadema↗
- part 2 — applied to Influence of de Taeye and historical accuracy
- part 3 — applied to Preliminary sketches and criticism of marble treatment