plate no. 1891
The Son made a circle, and his Father and he took their places within it, and the little black Mannikin appeared
recreation guide
This artwork, titled 'The Son made a circle, and his Father and he took their places within it, and the little black Mannikin appeared,' is an oil painting by Arthur Rackham, executed in the Art Nouveau style. As an illustration, it likely prioritizes narrative clarity and linear definition characteristic of Rackham’s work, though the specific visual details of the figures and setting are not described in the provided sources. The recreation focuses on traditional oil painting techniques applicable to this period and medium, specifically the use of a monochrome underpainting (grisaille) followed by glazing and scumbling to achieve depth and luminosity, as described in historical treatises on oil painting practice.
estimated time
20-30 hours over 5-7 sessions (allowing for drying times between glaze layers)
materials
8 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Canvas or panel | Support for the painting | Linen canvas primed with gesso |
| Charcoal or thinned paint | Initial sketching of the composition | Vine charcoal or diluted raw umber |
| Linseed oil | Medium for thinning paint and creating glazes | Refined linseed oil |
| Mineral spirits or turpentine | Solvent for cleaning brushes and thinning initial layers | Odorless mineral spirits |
| Oil paints (Black, Ultramarine, White, Yellow, Red tones) | Creating the grisaille underpainting and subsequent color glazes | Artist-grade oil paints |
| Varnish | Mixed with oil for final glazing stages to increase transparency and flow | Dammar varnish or similar picture varnish |
| Paintbrushes | Application of paint, glazes, and scumbles | Hog bristle and sable brushes of various sizes |
| Palette knives and rags | Scraping wet paint or applying texture if needed | Standard palette knives and lint-free cloths |
preparation
surface prep
The surface should be prepared to accept oil paint. While specific preparation for this exact piece is not detailed, traditional oil painting involves a primed surface. The artist should ensure the ground is stable to support the layering process described in the sources, particularly the 'fat over lean' rule which requires a stable base (Source 2).
underdrawing
Begin by sketching the subject onto the canvas using charcoal or thinned paint, as is traditional in oil painting techniques (Source 2). Given Rackham’s background in illustration, precise line work is likely important, but the sources do not specify if he left visible underdrawings. The sketch should establish the composition, including the circular motif and the figures mentioned in the title.
underpainting
Create a monochrome underpainting, known as a grisaille. This step involves mentally extracting red and yellow colors, translating what would remain in nature if those colors were absent (Source 1). Use black, ultramarine, and white mixed with oil of copavia (or a modern equivalent like linseed oil) to establish the values and forms. This layer must be completely dry before proceeding (Source 1).
color palette
Black
Bone black or ivory black
Grisaille underpainting and shadows
Ultramarine
Ultramarine blue
Grisaille underpainting, providing cool tones
White
Titanium white or lead white (historical)
Grisaille underpainting and highlights
Yellow tones
Yellow ochre, cadmium yellow, or similar
Glazing and scumbling to reintroduce warmth and local color
Red tones
Vermilion, alizarin crimson, or similar
Glazing and scumbling to reintroduce warmth and local color
composition
The composition centers on a circular motif containing the Son and Father, with the 'little black Mannikin' appearing. While the specific arrangement is not detailed in the sources, the artist should focus on the organization of visual elements such as line, shape, and space to guide the viewer’s eye (Source 3). Rackham’s illustrative style likely emphasizes clear narrative structure within the composition.
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the composition using charcoal or thinned paint, establishing the circular form and the positions of the figures.
Tip — Ensure the drawing is secure but not too dark, as it will be covered.
Initial sketching
underpainting
step 02
Apply a grisaille using black, ultramarine, and white mixed with oil. Focus on values and forms, mentally excluding red and yellow hues.
Tip — Ensure this layer is completely dry before proceeding to avoid muddying subsequent layers.
Grisaille
first pass
step 03
Begin glazing and scumbling with oil. Apply transparent coats of yellow and red tones over the dry grisaille, similar to tinting an engraving with watercolors.
Tip — Glazing involves transparent color layers that allow the underpainting to show through.
Glazing
refining
step 04
Use scumbling, a semi-opaque technique, to add texture and modify tones. When applied over darker grounds, this can create a grey bloom or coldness.
Tip — Scumbling allows the underlying painting to remain visible, adding complexity to the surface.
Scumbling
finishing
step 05
As mastery is gained, mix varnish with oil for subsequent glaze layers to enhance transparency and flow.
Tip — Follow the 'fat over lean' rule: each layer should contain more oil than the previous one to prevent cracking.
Varnish glazing
varnishing
step 06
Allow the painting to dry completely (up to two weeks) before applying a final protective varnish if desired.
Tip — Oil paint dries by oxidation, not evaporation, so patience is required.
Drying and varnishing
critical techniques
Glazing
Applying transparent coats of color over a dry underpainting to build depth and luminosity. This method was practiced by old masters and is described as tinting an engraving with watercolors.
Scumbling
Using semi-opaque paint to modify tones and add texture, allowing the underlying layer to show through. It can create a grey bloom when used over dark grounds.
Fat over Lean
Ensuring each successive layer of paint contains more oil than the layer below to allow proper drying and prevent cracking.
common pitfalls
- →Applying lean layers over fat layers, which can cause the painting to crack and peel (Source 2).
- →Attempting to glaze before the grisaille is completely dry, which can ruin the underpainting (Source 1).
- →Over-mixing colors on the palette instead of using glazing to achieve luminosity, which can result in duller tones (Source 1, Source 7).
- →Ignoring the 'fat over lean' rule, leading to structural instability in the paint film (Source 2).
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 figures, clothing, and setting in this particular artwork are not described in the sources.
- ·Arthur Rackham’s specific personal palette preferences for this piece are not detailed; the guide relies on general oil painting practices of the period.
- ·The exact proportions and layout of the composition are not provided, requiring the artist to rely on the title’s description and general compositional principles.
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 (grisaille), glazing, and scumbling techniques
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to Surface preparation, underdrawing, fat over lean rule, and drying times
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 1 — applied to General compositional structure and elements of design
Read more about the corpus on the sources page and how the guides are built on the methods page.
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