plate no. 7771
The canon of the cathedral of Reims
recreation guide
This recreation guide addresses the painting of a portrait in the style of Maurice Quentin de La Tour, specifically adhering to the Rococo genre conventions and the technical practices of 18th-century oil painting. While de La Tour is historically renowned for his pastels, this guide focuses on the oil medium as specified, utilizing period-appropriate techniques such as direct painting or glazing over a monochrome underpainting. The work aims to capture the likeness and social status of the sitter, consistent with the function of portrait painting as a record of the rich and powerful (Source 5). The distinctive quality of the artwork relies on the nuanced rendering of flesh tones and the application of color contrast laws to heighten the complexion against drapery or background (Source 3).
estimated time
40-60 hours over 8-12 sessions
materials
11 items
steps
7 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Linseed oil | Primary binder for oil paints, providing flexibility and rich color | Refined linseed oil |
| Spirits of turpentine | Thinner for initial layers; dries 'dead' to leave paint slightly absorbent for subsequent layers | Gum turpentine or odorless mineral spirits |
| Two whites (e.g., Lead White and Zinc White) | For mixing flesh tones and highlights; essential for the palette described in direct painting instructions | Titanium White (for opacity) and Zinc White (for transparency) |
| Yellow Ochre | Earth tone for underpainting and flesh shadows | Natural Yellow Ochre |
| Light Red / Vermilion | Warm tones for flesh highlights and drapery | Cadmium Light or Quinacridone Magenta (for lightfastness) |
| Rose Madder | Transparent red for glazing flesh tones | Quinacridone Rose |
| Cobalt Blue | Cool tones for shadows and complementary contrasts | Cobalt Blue |
| Emerald Green / Oxide of Chromium | Complementary colors for drapery to heighten flesh tones via contrast | Viridian or Chromium Oxide Green |
| Raw and Burnt Umber | Earth tones for underdrawing and dark shadows | Raw Umber and Burnt Umber |
| Ivory Black | Deep shadows and neutralizing colors | Ivory Black or Mars Black |
| Canvas or Wood Panel | Support for the painting | Linen canvas primed with gesso or oak panel |
preparation
surface prep
Prepare a rigid support such as a wood panel or tightly stretched canvas. Prime with a traditional ground (e.g., gesso or chalk and glue size) to create a smooth, slightly absorbent surface suitable for the layering techniques described. The surface should be neutral or slightly toned to assist in judging values during the underpainting phase.
underdrawing
De La Tour’s specific preparatory drawing methods are not detailed in the provided sources. However, consistent with 18th-century practice, a light underdrawing using charcoal or thinned umber wash is likely to establish proportions and key contours before applying paint. Avoid heavy lines that may show through subsequent glazes.
underpainting
Two approaches are supported by the sources: (1) Direct painting in color (prima), substituting toned color for uncolored tone (Source 1); or (2) A monochrome grisaille underpainting, extracting red and yellow colors to establish form and value, which is later glazed (Source 2). For a Rococo portrait, the grisaille method allows for greater luminosity in flesh tones. Ensure the underpainting is completely dry before proceeding to glazing.
color palette
Flesh Tones
White, Yellow Ochre, Light Red, Vermilion, Rose Madder
Rendering the complexion, utilizing direct color or glazing over grisaille
Shadows
Burnt Umber, Ivory Black, Cobalt
Deep shadows and cool undertones in flesh and drapery
Drapery/Background
Emerald, Oxide of Chromium, Cobalt, Yellow Ochre
Complementary colors to heighten the complexion via contrast (e.g., green for rosy complexion)
Highlights
White, Light Red
Brightest areas of the face and hands
composition
The composition should focus on the sitter’s likeness and social status, typical of portrait painting (Source 5). Specific compositional details (e.g., exact pose, background elements) are not described in the sources. However, the artist should consider the law of simultaneous contrast: if the complexion is rosy, a blue or green drapery may heighten the tint (Source 3). The arrangement of colors should aim for harmony, distinguishing between inherent colors (flesh, hair) and chosen colors (drapery, background) (Source 4).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Lightly sketch the sitter’s proportions and key features using charcoal or a thin wash of burnt umber.
Tip — Keep lines faint to avoid interfering with subsequent layers.
Underdrawing
underpainting
step 02
Apply a monochrome grisaille using black, white, and umber to establish form, value, and shadow. Extract red and yellow tones mentally, focusing on structure.
Tip — Ensure the grisaille is completely dry before glazing to prevent muddiness.
Grisaille
first pass
step 03
Set the palette with two whites, yellow ochre, light red, vermilion, rose madder, cobalt, emerald, oxide of chromium, raw and burnt umber, and ivory black. Use spirits of turpentine alone for the first painting to allow the paint to dry 'dead' and remain slightly absorbent.
Tip — Turpentine prevents the surface from becoming 'soapy' and aids adhesion of subsequent oil layers.
Direct Painting / Glazing
refining
step 04
Glaze and scumble the yellow and red tones over the dry grisaille. Glazing involves applying a transparent coat of color; scumbling involves semi-opaque painting where the underlying layer shows through.
Tip — Use oil at first, then mix varnish and oil for greater mastery. This mimics tinting an engraving with watercolors.
Glazing and Scumbling
step 05
Apply color contrast principles: if the complexion is rosy, use a blue or green drapery to heighten the tint. If the complexion is orange, use a violet-neutralizing yellow drapery.
Tip — Juxtaposition of colors modifies perception more than reflection; choose drapery colors to enhance the flesh tone.
Simultaneous Contrast
finishing
step 06
Refine details, ensuring that small effects result from great effects of contrast and tone. Adjust highlights and shadows to achieve a true gradation of light.
Tip — Attention to contrast laws ensures harmony and realism without overworking small details.
Chiaroscuro
varnishing
step 07
Apply a final varnish to protect the painting and unify the surface sheen. Boil oil with resin (e.g., pine resin) to create a protective varnish if desired.
Tip — Ensure the painting is fully dry to prevent trapping solvents.
Varnishing
critical techniques
Glazing and Scumbling
Used to add color over a dry monochrome underpainting. Glazing adds transparent color; scumbling adds semi-opaque color, allowing the underlayer to show through. This method was practiced by old masters and is recommended for achieving luminous flesh tones.
Simultaneous Contrast
The juxtaposition of colors affects their perceived intensity. For example, a green drapery next to a rosy complexion heightens the rosiness. This law is crucial for harmonizing inherent and chosen colors in the composition.
Direct Painting with Turpentine
Using turpentine alone for the first layer allows the paint to dry 'dead' and remain absorbent, preventing the surface from becoming soapy and ensuring better adhesion for subsequent oil layers.
common pitfalls
- →Using too much oil in early layers, which darkens color and creates a 'soapy' surface that resists subsequent paintings (Source 1).
- →Glazing over a wet underpainting, which can lead to muddiness and poor adhesion (Source 2).
- →Ignoring color contrast laws, resulting in flat or disharmonious flesh tones against drapery (Source 3).
- →Overworking small details instead of focusing on great effects of contrast and tone, which naturally produce smaller effects (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.
- ·Specific visual details of 'The canon of the cathedral of Reims' (e.g., sitter's pose, clothing, background) are not described in the sources.
- ·De La Tour's specific oil painting techniques are not detailed; the guide relies on general 18th-century oil painting practices and the provided instructional texts.
- ·The exact year of creation is not available, limiting precise historical context for material choices.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- CHAPTER XV PAINTING IN COLOUR DIRECT FROM LIFE — applied to Palette setup, use of turpentine for first layer, direct painting instructions
- COLOURING A MONOCHROME — applied to Grisaille underpainting, glazing and scumbling techniques
Laws of Contrast of Colour↗
- 544-547 — applied to Color contrast principles for flesh tones and drapery
- 6, 324 — applied to Chiaroscuro, harmony of inherent vs. chosen colors
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Portrait painting↗
- Portrait painting — part 1 — applied to Genre context, purpose of portrait painting
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to General oil painting materials and varnishing
Read more about the corpus on the sources page and how the guides are built on the methods page.
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