plate no. 5011

Thomas Noel-Hill (1770–1832), 2nd Baron Berwick of Attingham

oilNeoclassicismportraitportraitfigurecolumnlandscapeclothingurn

recreation guide

This artwork is a Neoclassical portrait of Thomas Noel-Hill, 2nd Baron Berwick of Attingham, painted by Angelica Kauffman in 1793. Kauffman, though primarily identifying as a history painter—a genre considered the most elite in academic theory—was a successful portraitist for British society and visitors to Rome (Source 7, Source 8). The work reflects the Neoclassical style she discovered in Florence in 1762, characterized by grace, elegance, and accuracy (Source 7, Source 8). As a portrait, its intent is to represent the specific human subject with a likeness that captures character and moral quality rather than just outward appearance, consistent with the academic ideals of the period (Source 4, Source 5).

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paint (Ultramarine, Black, White, Red, Yellow)	Primary pigments for underpainting and glazing	Artist-grade oil paints
Oil of Copavia (or Linseed Oil)	Medium for the first and second paintings, as cited by Reynolds regarding Kauffman's contemporary practice	Stand oil or refined linseed oil
Varnish	Mixed with oil for later glazing stages to gain mastery over transparent coats	Dammar varnish or similar painting medium
Canvas	Support surface	Linen canvas
Charcoal or thinned paint	For initial sketching of the subject	Vine charcoal or diluted oil paint

preparation

surface prep

The canvas should be prepared with a ground suitable for oil painting. While specific ground recipes for this exact portrait are not detailed in the sources, traditional oil painting techniques of the period involved preparing the surface to accept oil layers. The 'fat over lean' rule must be observed, ensuring each additional layer contains more oil than the one below to prevent cracking (Source 2).

underdrawing

Begin by sketching the subject onto the canvas using charcoal or thinned paint, as was traditional for oil painting techniques of the era (Source 2). Kauffman’s training involved extensive copying of Old Masters and drawing from life, suggesting a disciplined approach to initial composition and proportion (Source 3, Source 7).

underpainting

Employ a grisaille (monochrome) underpainting. Mentally extract red and yellow colors, translating what would remain in nature if these colors were absent (Source 1). This monochrome layer establishes the tonal values before color is introduced. This method aligns with the practice of Sir Joshua Reynolds, a contemporary and influence on Kauffman, who used black, ultramarine, and white for his first and second paintings (Source 1).

color palette

Black, Ultramarine, White

Pure pigments mixed with oil of copavia

Underpainting and establishing tonal structure, consistent with Reynolds' method cited in the sources

Red and Yellow tones

Transparent glazes

Glazing and scumbling over the dry grisaille to introduce color, mimicking the tinting of an engraving

composition

The portrait likely aims to capture the 'inner essence' and 'character and moral quality' of the sitter, rather than a fleeting expression (Source 5). Kauffman’s Neoclassical style emphasizes grace and elegance (Source 7). The composition should avoid 'smallness' or being too tied down to outlines, aiming for broad masses and correct finish, as advised in copying exercises for portraitists (Source 3).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the subject onto the prepared canvas using charcoal or thinned paint.
Tip — Ensure proportions are accurate, drawing on training from copying Old Masters.
Traditional oil painting sketching

underpainting

step 02
Create a grisaille (monochrome) underpainting using black, ultramarine, and white mixed with oil of copavia. Exclude red and yellow tones.
Tip — Focus on tonal values and form, mentally extracting warm colors.
Grisaille underpainting

first pass

step 03
Allow the grisaille to dry completely.
Tip — Oil paint dries by oxidation; wait until dry to the touch (up to two weeks) before proceeding.
Drying time

refining

step 04
Glaze and scumble the dry grisaille with red and yellow tones. Use oil initially, then mix varnish and oil for greater transparency.
Tip — Glazing is a transparent coat; scumbling is semi-opaque. Apply colors as if tinting an engraving with watercolors.
Glazing and Scumbling

finishing

step 05
Refine the likeness to capture the sitter's character and moral quality, avoiding temporary or accidental expressions.
Tip — Focus on the eyes and eyebrows for expression, as the mouth should remain relatively neutral.
Portrait characterization

critical techniques

Glazing and Scumbling

Used to introduce color over a dry monochrome underpainting. Glazing provides transparent color, while scumbling adds semi-opaque layers that allow the underlying painting to show through, creating depth and tone.

Fat over Lean

Each subsequent layer of paint must contain more oil than the previous layer to ensure proper drying and prevent cracking.

Character Portraiture

Aiming to depict the inner significance and moral quality of the subject rather than just physical likeness, consistent with Neoclassical and academic ideals.

common pitfalls

→Applying layers with less oil than the previous layer, which will cause the painting to crack and peel (Source 2).
→Attempting to glaze before the underpainting is completely dry, which can muddy the colors and disrupt the tonal structure (Source 1).
→Focusing too much on outline or over-modeling, leading to 'smallness' in the work; instead, aim for broad masses and correct finish (Source 3).
→Ignoring simultaneous contrast, where adjacent colors affect the perception of each other, leading to inaccurate color mixing (Source 6).

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 details of Thomas Noel-Hill's clothing, jewelry, or background are not described in the sources, so these must be inferred from general Neoclassical portraiture conventions or external references not provided here.
·The exact ratio of varnish to oil for the glazing stage is not specified, requiring the artist to experiment based on 'sufficient mastery' (Source 1).
·Kauffman's specific brushwork style for this portrait is not detailed, though her general style is described as graceful and accurate (Source 7).

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 and glazing techniques
- ON COPYING — applied to Advice on avoiding smallness and over-modeling
Laws of Contrast of Colour↗
- 315-318 — applied to Color perception and mixing

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 Materials, drying times, and fat over lean rule
Wikipedia: Portrait painting↗
- Portrait painting — part 1 — applied to Purpose of portraiture
- Portrait painting — part 2 — applied to Depicting character and expression
Wikipedia bio — Angelica Kauffman↗
- part 4 — applied to Artist's style and historical context
- part 2 — applied to Artist's training and Neoclassical influence