plate no. 5011

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

oilNeoclassicismportraitportraitfigurecolumnlandscapeclothingurn

what to study here

It shows how a three-value structure, one warm mid-tone and soft edges can hold a seated figure together with a clear focal path.

Start with the value structure. The black velvet jacket and the lower-left shadows are the darkest notes, while the face, neck and pale stockings are the lightest. The warm golden-brown background and floor sit in one mid-tone, so the figure separates from it by value. Squint and you should read three groups: dark figure, light flesh and leg, unified middle ground. Next, follow the composition. Light from the upper left lands on the face first, then the eye runs down the diagonal of the extended right leg, with the pale stockings acting as an anchor. A fluted column at the left and an urn on a pedestal at the right frame the figure. Look at the edges. Most are soft, and the background is loose and atmospheric. The jacket gets decisive horizontal strokes that follow the nap of the velvet, while the lace at the wrists and the urn's relief get careful linear work that stays soft. Cooler green foliage at the upper right sets off the warm ground. Copy the contrast between loose and precise passages before copying any detail.

key decision

Kauffman kept the background and floor in one warm golden-brown mid-tone, so the dark jacket and the pale face and leg carry the figure's silhouette and the diagonal through the composition.

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

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

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

A young man in dark neoclassical dress sits in relaxed elegance, turned three-quarter to the viewer's left. Warm light from the upper left catches his pale face, neck, and extended right leg, creating strong contrast against his deep velvet jacket. Behind him, a fluted Corinthian column anchors the left edge while a classical urn sits elevated on a pedestal to the right, framing the figure. The background glows with warm golden-brown tones that establish atmospheric depth, cooler green foliage emerging at the upper right. The composition pulls the eye first to his face, then down the diagonal line of his extended leg, using the pale stockings as a compositional anchor.

value structure

The darkest darks are the black velvet jacket and deep shadows in the lower left; the brightest lights are his face, neck, and pale stockings. A distinct mid-tone zone occupies the entire background and floor—warm golden-brown that neither competes with the figure nor recedes too far. Squint and you see three clear value groups: dark figure, light flesh and lower leg, and unified warm middle ground that unifies the architectural elements.

observed palette and mixes

#191e0c
Ivory black with touch of raw umber; possible ultramarine undertone
Dark velvet jacket, deepest shadows in drapery and lower left corner
#987d45
Raw umber with cadmium red light and titanium white; warm ochre bias
Dominant background and floor plane throughout composition
#735e34
Raw umber with ultramarine blue, slight cadmium red adjustment
Mid-shadow areas, the pedestal base, fabric folds in jacket
#504125
Raw umber with ivory black and ultramarine; earth-based dark
Chair frame, architectural shadow areas
#312c16
Ivory black with raw umber, minimal white
Deepest folds and shadow edges throughout
#452e19
Raw umber with cadmium red light, ivory black
Warm shadows on flesh, lace details, decorative elements

edges and brushwork

Edges are deliberately soft throughout most of the composition—faces and forms are blended rather than drawn, particularly in the background where brushwork becomes loose and atmospheric. The dark jacket shows decisive horizontal strokes that follow the nap of velvet, creating texture and form simultaneously; this is visible technique but never crude. Fine details like lace at the wrists and the urn's decorative relief receive careful linear work, yet remain soft—painted with precision but without hard edges.

a working sequence

01
Toned Ground and Value Map
Lay a warm middle-value ground (the raw umber-dominant tone) across the entire canvas, then establish your darks and lights with a thin brush and darker mix: block in the silhouette of the figure as a dark mass, the pale geometric shape of the extended leg, and the architectural forms behind. Don't render details yet—map the three value zones so you can see the composition working.
02
Background and Atmospheric Space
Develop the background as an active form, not negative space. Work the warm golden-brown floor and wall plane, keeping edges soft. Begin the cooler green foliage at the upper right with looser, broader strokes—it should recede, so leave it less detailed. The column and pedestal base emerge from this space with subtle value shifts, not hard edges.
03
Face and Neck—The Focal Point
Begin modeling the face with warm peachy-cream flesh tones, preserving the light from the upper left. Work the subtle transitions from forehead to cheek to jaw; the modeling is gentle, not dramatic. Pay attention to the warmth in the shadow side of the face and the cooler, paler tone on the lit side. The neck flows into the pale lace—establish these transitions carefully so the lace reads as delicate but integrated.
04
Lace and Fine Fabrics
With a smaller, precise brush, render the lace cuffs and collar in cool pale tones (nearly white with slight blue-gray undertone). Keep edges soft—lace texture comes from value shifts and subtle linear strokes, not hard outlines. These details catch light and provide visual interest without becoming fussy; they should feel delicate and airy, contrasting with the dark jacket beneath them.
05
Dark Velvet Jacket—Texture and Form
Work the jacket with the darkest blacks, using horizontal strokes to suggest the nap of velvet. Where the jacket catches warm light (shoulder, upper chest), introduce subtle warm undertones into the black rather than going cooler. The jacket should feel substantial and textured but unified—each fold or shadow should support the overall form, not compete for attention.
06
Pale Breeches and the Extended Leg
Render the pale stockings and breeches with cool, light values—nearly white on the lightest areas, warmed only slightly in shadows. This leg creates a strong compositional diagonal and value contrast; it must read clearly. Model the form gently so the leg feels rounded and three-dimensional, not flat. The pale foot, resting in shadow, should still maintain enough light to anchor the composition.
07
Chair and Architectural Elements
Develop the wooden chair frame with warm brown tones and subtle golden metallic accents on any hardware. Paint the Corinthian column with warm cream-yellow tones and soft modeling; the urn receives similar treatment. Both elements should feel classical and refined but remain subordinate to the figure—softer edges and less detail than the face, stronger in value than the background.
08
Refinement and Atmospheric Cohesion
Step back and evaluate the whole composition. Soften any hard edges that emerged during painting, particularly in the background and between the figure and architectural elements. Ensure the warm golden-brown space breathes as a unified atmosphere. Add any final lace details or subtle shadow refinements on the face and neck. Verify that the pale leg still reads as a strong compositional element and that the figure sits convincingly in space.

where studies of this painting go wrong

Underestimating the darkness of the jacket—students often make it too warm or too light, which destroys the silhouette and flattens the figure against the background.
Losing the subtle warmth in flesh tones by using pure cool pinks or whites; the face must feel alive with warm undertones even in shadow areas.
Overworking or hardening the lace details—they should remain soft and painterly, supporting elegance rather than demanding precision.
Making the background too dark or too cool, which pulls it forward and competes with the figure; the background must remain subordinate yet active in establishing the warm, classical setting.
Weakening the pale leg's value contrast through timidity or excessive blending; this element drives the composition and must read clearly.
Rendering the architectural elements with too much detail or sharpness, making them compete with the portrait rather than frame it.

measured difficulty