plate no. 8289

This is our Corner

oil, canvasRomanticismgenre paintingfigureschildreninteriorbooksfurnitureclothing

recreation guide

Sir Lawrence Alma-Tadema’s *This is our Corner* (1872) is a quintessential example of his mature style, characterized by the depiction of classical antiquity with a focus on luxury, decadence, and meticulous detail. As a Dutch painter who settled in London, Alma-Tadema became famous for setting languorous figures within fabulous marbled interiors or against dazzling Mediterranean backdrops (Source 2). While the specific visual details of *This is our Corner* are not explicitly described in the provided sources, the work falls under the genre of history painting or high-quality genre painting, which often depicts narrative moments or idealized everyday life within a classical context (Source 5, Source 6). The artist was admired during his lifetime for his draftsmanship and accurate depictions of Classical antiquity, suggesting a rigorous approach to form and material representation (Source 2).

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints	Primary medium for achieving the illusion of natural appearances and texture.	High-quality tube oils (e.g., Winsor & Newton, Gamblin)
Canvas	Support for the oil paint, consistent with 19th-century history painting practices.	Linen or cotton canvas, primed
Brushes	For detailed draftsmanship and smooth blending required by the artist's style.	Sable or synthetic brushes of various sizes
Palette knives	For mixing colors and potentially applying thick impasto for marble textures.	Standard steel palette knives
Solvents (Turpentine/Oil)	For thinning paint and cleaning brushes.	Odorless mineral spirits or linseed oil

preparation

surface prep

The surface should be prepared with a white or light-toned ground to facilitate the luminous quality characteristic of Alma-Tadema’s work. While specific preparation methods for this painting are not detailed in the sources, 19th-century history painters typically used a well-primed canvas to support the detailed work required for marble and flesh tones (Source 6).

underdrawing

Alma-Tadema was admired for his draftsmanship (Source 2). It is likely that a precise underdrawing was made to ensure the accuracy of the classical architecture and figures. The artist would have used a charcoal or thinned oil sketch to map out the composition, focusing on the correct proportions of the figures and the geometric precision of the marble interiors.

underpainting

An underpainting (imprimatura) may have been used to establish tonal values. Given the artist's focus on light and atmosphere, a neutral or warm-toned underlayer would help in building up the luminous effects described in the sources (Source 1).

color palette

White/Cream

Lead White or Titanium White

Marble interiors and highlights, consistent with the artist's depiction of 'fabulous marbled interiors' (Source 2).

Blue

Ultramarine or Cobalt Blue

Meditanean sky and sea backdrops, as noted in the artist's typical settings (Source 2).

Warm Flesh Tones

Yellow Ochre, Vermilion, White

Figures, requiring careful handling to avoid 'meretricious' deception while maintaining vitality (Source 1).

Complementary Accents

Reds, Greens, Oranges

Drapery and accessories, using complementary color principles to enhance brilliance (Source 3, Source 4).

composition

While the specific composition of *This is our Corner* is not detailed in the sources, Alma-Tadema’s works typically feature languorous figures set in spacious, detailed interiors (Source 2). The composition likely balances the figures with the architectural elements, using the marble surfaces to reflect light and create a sense of depth. The artist’s approach to composition would involve careful placement of figures to guide the viewer’s eye through the narrative or scene (Source 6).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the composition with precise lines, focusing on the architectural details and figure poses.
Tip — Ensure accuracy in proportions and perspective, as Alma-Tadema was known for his detailed draftsmanship (Source 2).
Draftsmanship

underpainting

step 02
Apply a thin layer of paint to establish basic tones and values.
Tip — Use a neutral tone to help with color mixing and value judgment.
Imprimatura

first pass

step 03
Block in the main colors, starting with the background and large areas of marble.
Tip — Pay attention to the complementary colors to enhance brilliance, as suggested by color theory (Source 3).
Blocking in

refining

step 04
Add details to the figures and marble textures, using fine brushes for precision.
Tip — Avoid overworking the paint to maintain the vitality of the medium (Source 1).
Glazing and Scumbling

finishing

step 05
Adjust highlights and shadows, ensuring the light effects are convincing.
Tip — Use the law of simultaneous contrast to enhance the visual impact of colors (Source 7).
Chiaroscuro

varnishing

step 06
Apply a varnish to protect the painting and unify the surface.
Tip — Wait for the paint to dry completely before varnishing.
Varnishing

critical techniques

Simultaneous Contrast

Using complementary colors next to each other to enhance their brilliance, as described in color theory (Source 3).

Draftsmanship

Precise drawing of figures and architecture, a hallmark of Alma-Tadema’s work (Source 2).

Illusion of Natural Appearances

Using oil paint to create a realistic depiction of marble and flesh, while maintaining the vitality of the medium (Source 1).

common pitfalls

→Overworking the paint to achieve a deceptive realism, which can lose the vitality of the medium (Source 1).
→Ignoring the principles of color contrast, leading to dull or muddy colors (Source 3, Source 7).
→Inaccurate draftsmanship, which would detract from the artist’s reputation for precision (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 *This is our Corner* (e.g., exact figure poses, specific objects in the room) are not described in the sources.
·The exact palette used by Alma-Tadema for this specific painting is not detailed.
·The specific underpainting technique used by the artist is not explicitly stated.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice and Science of Drawing↗
- XX MATERIALS — applied to Understanding the importance of medium vitality and avoiding deceptive realism (Source 1).
The Science of Painting↗
- 4. When two colours separated by more than two others — applied to Color theory and complementary color usage (Source 3).
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints of different tones of the same — applied to Chiaroscuro and color contrast principles (Source 7).

cross-referenced from

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

Wikipedia bio — Sir Lawrence Alma-Tadema↗
- part 1 — applied to Biographical context, style, and reputation for draftsmanship (Source 2).
Wikipedia: Complementary colors↗
- Complementary colors — part 1 — applied to Understanding complementary color pairs (Source 4).
Wikipedia: Genre painting↗
- Genre painting — part 1 — applied to Context of genre and history painting (Source 5, Source 6).