plate no. 6956

The Parting Kiss

oil, canvasRomanticismgenre paintingfiguresarchitecturemarketromancolumnscityscape

recreation guide

Sir Lawrence Alma-Tadema’s *The Parting Kiss* (1882) is a quintessential example of his mature style, characterized by the depiction of classical antiquity with an emphasis on luxury, architectural precision, and emotional narrative. While the specific visual details of this particular canvas are not described in the provided sources, Alma-Tadema is historically documented as a painter who achieved fame for his 'accurate depictions of Classical antiquity' and 'languorous figures set in fabulous marbled interiors' (Source 5). His work is distinguished by a rigorous attention to historical detail, a trait instilled in him during his training under Louis Jan de Taeye, who encouraged 'historical accuracy' and introduced him to ancient civilizations (Source 4). The painting likely exhibits the artist’s signature mastery of marble and stone textures, a skill he refined after early criticism that his treatment of marble resembled 'cheese' (Source 6).

estimated time

40-60 hours over 8-12 sessions

materials

4 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Red, Yellow)	Primary pigments for the grisaille underpainting and subsequent glazing layers.	High-quality tube oils; Ultramarine Blue, Titanium White, Ivory Black, Cadmium Red, Cadmium Yellow.
Oil of Copavia (or modern linseed/walnut oil)	Medium for the first and second paintings, as cited in Reynolds' method which influenced the era's academic practice.	Stand oil or refined linseed oil for slower drying and smoother flow.
Varnish	Mixed with oil for later glazing stages to increase transparency and depth.	Dammar varnish or synthetic resin varnish.
Canvas	Support for the oil painting.	Linen canvas, primed with gesso.

preparation

surface prep

The surface should be prepared with a smooth, white ground to facilitate the luminous quality characteristic of Alma-Tadema’s work. While specific priming recipes for this exact painting are not in the sources, the artist’s adherence to academic traditions suggests a standard oil ground. The smoothness is critical for rendering the 'fabulous marbled interiors' and precise architectural details associated with his style (Source 5).

underdrawing

Alma-Tadema was known for 'extraordinary care in the preparation of his preliminary sketches' (Source 6). The underdrawing should be precise and detailed, likely executed in charcoal or thin wash, establishing the exact proportions of the figures and the architectural setting. Given his reputation for draftsmanship (Source 5), the drawing phase is crucial and should not be rushed.

underpainting

The underpainting should likely follow a monochrome or grisaille approach. Sir Joshua Reynolds, whose methods were influential in the academic tradition Alma-Tadema practiced, described a method where 'the first and second paintings are with oil of copavia... the colours being black, ultramarine, and white' (Source 3). This monochrome base allows the artist to establish values and chiaroscuro before introducing color. The artist should mentally 'extract the red and yellow colours' during this phase, focusing on the structural light and shadow (Source 3).

color palette

Ultramarine

Pure Ultramarine Blue

Used in the initial monochrome underpainting for shadows and mid-tones, consistent with Reynolds' cited method (Source 3). Also likely used for the 'dazzling blue Mediterranean sea and sky' characteristic of his backgrounds (Source 5).

White

Lead White or Titanium White

Highlights in the monochrome underpainting and for rendering the 'variegated granite' and marble textures (Source 6).

Black

Ivory Black or Lamp Black

Deep shadows in the monochrome underpainting (Source 3).

Red and Yellow tones

Vermilion, Cadmium Red, Yellow Ochre, Cadmium Yellow

Applied as transparent glazes over the dry grisaille to introduce flesh tones and warm accents, 'much as you would tint an engraving with watercolours' (Source 3).

composition

While the specific composition of *The Parting Kiss* is not detailed in the sources, Alma-Tadema’s works typically feature 'languorous figures set in fabulous marbled interiors' (Source 5). The composition likely balances the human figures with precise architectural elements. The artist’s early training involved large processional paintings in architectural settings (Source 4), suggesting a structured, symmetrical, or carefully balanced layout. The use of 'chiaro-’scuro' (light-dark contrast) is essential to produce 'true gradation of light' and separate the figures from the background (Source 1).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Execute a highly detailed preliminary sketch on the canvas, focusing on anatomical accuracy and architectural perspective.
Tip — Alma-Tadema took 'extraordinary care' in this stage; do not rush.
Preparatory Sketching

underpainting

step 02
Apply a monochrome underpainting using black, ultramarine, and white mixed with oil of copavia (or similar medium). Establish the full range of values from deep shadows to bright highlights.
Tip — Mentally extract red and yellow hues, focusing only on value structure.
Grisaille/Monochrome Underpainting

first pass

step 04
Begin glazing and scumbling with oil. Apply transparent layers of red and yellow tones to flesh areas and warm accents.
Tip — Apply colors 'much as you would tint an engraving with watercolours' (Source 3).
Glazing

refining

step 03
Ensure the monochrome layer is completely dry. Refine the chiaroscuro to ensure that juxtapositions of tone produce the desired 'true gradation of light' (Source 1).
Tip — Check that the highest tones are not enfeebled and lowest tones are heightened by contrast.
Chiaroscuro
step 05
Use scumbling (semi-opaque painting) over darker grounds to create coldness or grey blooms where needed, allowing the underlying painting to show through.
Tip — Be aware that scumbling over darker grounds tends to coldness.
Scumbling

finishing

step 06
Apply final glazes using a mixture of varnish and oil to deepen colors and enhance luminosity, particularly in the marble and architectural details.
Tip — Ensure mastery of the medium before mixing varnish with oil to avoid cracking or muddiness.
Varnish Glazing

critical techniques

Glazing and Scumbling

Used to build up color transparently over a monochrome base. Glazing provides transparent coats of color, while scumbling provides semi-opaque layers that allow the underpainting to influence the final tone. This method was 'practised by the old masters far more generally' than modern painters assume (Source 3).

Chiaroscuro and Simultaneous Contrast

The artist must account for how juxtaposed colors affect each other. When two flat tints are placed beside each other, the higher tone is enfeebled and the lower tone is heightened, creating a 'true gradation of light' (Source 1). The painter must perceive these modifications to imitate light accurately (Source 2).

Marble Rendering

Alma-Tadema became the 'world's foremost painter of marble and variegated granite' after early criticism. This requires precise handling of white and cool tones to reflect light and texture accurately (Source 6).

common pitfalls

→Applying opaque color directly without a monochrome underpainting, which may result in a lack of depth and luminosity characteristic of the old masters' methods (Source 3).
→Ignoring simultaneous contrast: failing to account for how adjacent colors will alter the perceived tone of each other, leading to inaccurate color perception (Source 2).
→Rushing the underdrawing: Alma-Tadema’s success relied on 'extraordinary care' in preliminary sketches; poor drawing will undermine the final realism (Source 6).
→Muddying the glazes: mixing varnish and oil without sufficient mastery can lead to technical failures (Source 3).

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 color palette for *The Parting Kiss*: The sources do not list the exact pigments used in this specific 1882 painting, only general academic practices.
·Specific compositional layout: The arrangement of figures and architecture in *The Parting Kiss* is not described in the provided texts.
·Exact medium ratios: While oil of copavia and varnish are mentioned, the specific ratios for Alma-Tadema’s personal use are not detailed.
·Brushwork specifics: The sources discuss glazing and scumbling but do not detail the specific brush types or strokes used for Alma-Tadema’s fine details.

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, scumbling, and medium usage.
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Chiaroscuro and color contrast principles.

cross-referenced from

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

Wikipedia bio — Sir Lawrence Alma-Tadema↗
- part 2 — applied to Historical accuracy, training under de Taeye, and early Egyptian themes.
- part 1 — applied to General style, classical subjects, and reputation for draftsmanship.
- part 3 — applied to Preparatory sketches and marble rendering technique.

Read more about the corpus on the sources page and how the guides are built on the methods page.

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