plate no. 1228
The Education of the Children of Clovis
Sir Lawrence Alma-Tadema, 1861
recreation guide
Sir Lawrence Alma-Tadema’s *The Education of the Children of Clovis* (1861) is a work situated within the Romantic tradition, depicting a historical narrative through the lens of genre painting conventions. While the specific visual details of this 1861 canvas are not explicitly described in the provided sources, the work belongs to a genre that often portrays ordinary people or historical figures engaged in common activities, sometimes romanticized by the artist (Source 3). Alma-Tadema’s practice during this period would likely adhere to the rigorous oil painting techniques of the 19th century, which emphasized the layering of transparent and semi-opaque colors to achieve depth and richness (Source 4). The painting likely utilizes a method where the underlying structure is established before the application of color, a technique consistent with the 'old masters' approach referenced in historical texts on oil painting (Source 1).
estimated time
40-60 hours over 8-12 sessions
materials
8 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil of copavia | Medium for the first and second paintings, as cited by Sir Joshua Reynolds for establishing the method of painting | Stand oil or damar varnish mixed with linseed oil |
| Linseed oil | Primary drying oil binder for pigments | Refined linseed oil |
| Turpentine | Thinner for oil paints | Odorless mineral spirits or pure gum turpentine |
| Ultramarine | Primary blue pigment for the initial underpainting layers | Synthetic ultramarine blue |
| White lead | Primary white pigment for highlights and mixing | Titanium white (for safety) or Flake White (for historical accuracy) |
| Black pigment | For shadows and contrast in the underpainting | Ivory black or Lamp black |
| Red and Yellow ochres | For glazing and scumbling to introduce warm tones | Natural red ochre and Yellow ochre |
| Canvas | Support for the oil painting | Linen canvas, primed with gesso |
preparation
surface prep
The canvas should be prepared with a ground that allows for the absorption of the initial oil layers. While specific preparation for this 1861 work is not detailed in the sources, Alma-Tadema’s adherence to traditional methods suggests a stable, slightly absorbent ground. The use of oil of copavia as a medium implies a need for a surface that can handle slow-drying, resinous mediums without cracking (Source 1).
underdrawing
The sources do not specify Alma-Tadema’s underdrawing technique for this specific work. However, given the precision associated with his later style and the general practice of the time, a careful charcoal or thinned oil sketch is likely. The focus should be on establishing the composition’s 'aggregate force of color or line' to ensure the visual impact is immediate (Source 5).
underpainting
The underpainting should follow the method described by Sir Joshua Reynolds, which Alma-Tadema likely respected given his classical training. This involves a grisaille or monochrome underpainting using black, ultramarine, and white, mixed with oil of copavia (Source 1). This layer establishes the values and forms before color is introduced. The artist must mentally extract red and yellow colors, translating what would be left in nature if these two colors were not present (Source 1).
color palette
Ultramarine
Pure ultramarine mixed with oil of copavia
Initial underpainting for blues and shadows
White Lead
Pure white lead mixed with oil of copavia
Initial underpainting for highlights and mid-tones
Black
Ivory black or lamp black mixed with oil of copavia
Initial underpainting for deep shadows
Red Ochre
Red ochre thinned with oil and varnish
Glazing and scumbling to introduce warm tones
Yellow Ochre
Yellow ochre thinned with oil and varnish
Glazing and scumbling to introduce warm tones
composition
The composition likely aims for a 'noble' quality, addressing the spectator by the aggregate force of color or line rather than sharp contrasts (Source 5). The arrangement of figures should avoid mingling elements of contrary character, instead associating forms that are either massive and rugged or slight and graceful to summon a definite state of feeling (Source 5). The visual structure should rely on the elements of design—line, shape, color, texture, value, form, and space—to create a cohesive whole (Source 6).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the composition lightly, focusing on the aggregate force of line to establish the visual path for the eye.
Tip — Ensure the forms are consistent in character, avoiding mixed elements that might dilute the sublimity of the composition.
Compositional sketching
underpainting
step 02
Apply a monochrome underpainting using black, ultramarine, and white mixed with oil of copavia. Mentally extract red and yellow colors, focusing on the values that would remain if these warm colors were absent.
Tip — This layer must be quite dry before proceeding. It establishes the structural integrity of the painting.
Grisaille/Monochrome underpainting
first pass
step 03
Begin glazing and scumbling with oil. Apply transparent coats of color (glazing) and semi-opaque layers (scumbling) to introduce yellow and red tones.
Tip — Glazing is a transparent coat of color, while scumbling is semi-opaque, allowing the underlying painting to show through. When employed over a darker ground, scumbling tends to coldness, often producing a grey bloom.
Glazing and Scumbling
refining
step 04
Refine the colors by considering the simultaneous contrast of colors. Adjust tones based on how contiguous colors affect each other, ensuring that the lightest tone is lowered and the darkest tone is heightened if they are not of the same tone.
Tip — Be aware that the eye may see colors inaccurately due to mixed contrast, where the complementary of a previously seen color influences perception.
Simultaneous Contrast
finishing
step 05
Apply final layers using a mixture of varnish and oil, gaining sufficient mastery over the medium. Ensure the colors harmonize with the inherent nature of the objects depicted.
Tip — The goal is to harmonize colors that are essentially inherent to the nature of the objects, while also imitating the modifications of light.
Varnish and Oil Glazing
critical techniques
Glazing
A transparent coat of color applied over a dry underpainting to build depth and luminosity. This was a common practice among old masters and is essential for achieving the rich color density associated with oil painting.
Scumbling
A semi-opaque painting technique where the underlying layer shows through. It is used to introduce color variations and can create a 'grey bloom' when applied over darker grounds.
Simultaneous Contrast
The adjustment of colors based on their interaction with adjacent colors. The painter must perceive and imitate the modifications of tone and color received from contiguous colors to ensure accuracy.
common pitfalls
- →Applying glazes before the underpainting is completely dry, which can lead to muddying of the layers.
- →Ignoring the effects of simultaneous contrast, leading to inaccurate color perception and application.
- →Using too much contrast in the composition, which can reduce the sublimity and definite state of feeling the artwork aims to summon.
- →Failing to mentally extract red and yellow colors during the underpainting phase, resulting in a lack of structural clarity in the values.
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 Education of the Children of Clovis* (e.g., exact poses, clothing patterns, room layout) are not described in the sources.
- ·Alma-Tadema’s specific palette choices for this 1861 work are not detailed; the guide relies on general 19th-century practices and Reynolds’ methods.
- ·The exact proportion of varnish to oil in the final stages is not specified, requiring artist discretion.
- ·The specific pigments used for non-primary colors (e.g., greens, purples) are not detailed in the sources.
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 technique, glazing, and scumbling methods
Laws of Contrast of Colour↗
- 315-318 — applied to Color theory, simultaneous contrast, and color harmony
The Elements of Drawing↗
- 231 — applied to Compositional principles and visual impact
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Genre painting↗
- Genre painting — part 1 — applied to Contextualizing the artwork within the genre painting tradition
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to General oil painting techniques and materials
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 1 — applied to Elements of design and visual structure
Read more about the corpus on the sources page and how the guides are built on the methods page.
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