plate no. 1779

William Herschel

oilRococoportraitportraitfiguremanclothinghistoricalhair

what to study here

It shows how a dark ground, a bright cravat, and soft edges can focus a portrait on the face with very little else.

The lesson here is how much a portrait can do with a very narrow set of values. The vision read describes a near-black background, a reddish-brown coat, and a face in the mid-to-high range, with the white cravat as the brightest note. Squint and it reads as three zones: dark frame, mid-value coat, luminous face-and-cravat center. Study how the cravat sits next to the face and sets the top of the value scale, so the skin can stay in the middle range and still look lit. Look at how light enters from the left-front and models the cheekbone, while the eye sockets and jaw carry the deeper tones. The edges are almost all soft. The coat dissolves into the background, and only the eyes and mouth get slightly more definition, through value placement rather than a hard line. The downward, off-camera gaze gives a contemplative mood without any extra props. Copy the face in small value steps first, and check that you are not blending away the structure.

key decision

Abbott set the background at near-black and placed the white cravat as the brightest element beside the face. This lets the face sit in the mid-to-high range and still read as luminous.

recreation guide

This artwork is a 1785 oil portrait of the astronomer William Herschel, painted by Lemuel Francis Abbott. It was commissioned at the request of Herschel’s friend William Watson and is currently held in the National Portrait Gallery in London (Source 1). Abbott was an English painter specializing in portraits of naval officers and literary figures of the late 18th and early 19th centuries, known for capturing a 'great likeliness' that satisfied both subjects and their families, as noted in contemporary accounts of his work on Horatio Nelson (Source 6). The painting serves as a memorial record of a significant scientific figure, consistent with the genre’s function of representing specific human subjects for public or private remembrance (Source 3).

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints	Primary medium for the portrait	High-quality tube oils (linseed or walnut oil base)
Canvas or panel	Support surface	Linen canvas primed with gesso
Oil of copavia (historical medium)	Painting medium for glazing and flow	Stand oil or damar varnish mixed with linseed oil
Ultramarine, Black, White	Core pigments for underpainting and tonal structure	Ultramarine Blue, Ivory Black, Titanium White
Red and Yellow earth tones	Glazing and scumbling for flesh tones and warmth	Vermilion, Yellow Ochre, Raw Sienna

preparation

surface prep

Prepare a rigid support (panel or tightly stretched canvas) with a smooth ground. While specific preparation details for this exact painting are not in the sources, Abbott worked in the late 18th-century British tradition. A smooth, white or light-toned ground is typical for portrait work of this period to allow for the luminous flesh tones and glazing techniques described in contemporary practice (Source 7).

underdrawing

Sources do not explicitly describe Abbott’s underdrawing method for this specific work. However, given the emphasis on 'likeness' and 'inner essence' in portrait painting of this era (Source 2), a precise initial drawing is likely. Use charcoal or thinned oil to establish the three-quarter view of the head and shoulders, focusing on the eyes and eyebrows which carry the primary expression (Source 2).

underpainting

Employ a grisaille (monochrome underpainting) using black, ultramarine, and white mixed with oil of copavia. This technique, attributed to Sir Joshua Reynolds and common among old masters, establishes the tonal values and forms before color is introduced (Source 7). This allows the artist to focus on the 'inner significance' and character without the distraction of color initially (Source 2, Source 7).

color palette

Ultramarine/Black/White

Ultramarine blue, Ivory black, White lead/titanium

Underpainting and establishing tonal structure (Source 7)

Red/Yellow Tones

Vermilion, Yellow Ochre, Red Earth

Glazing and scumbling over the dry grisaille to create flesh tones and warmth (Source 7)

Neutral Grays

Black and White

Background and clothing, allowing the face to stand out via contrast (Source 8)

composition

The portrait likely follows the standard 'head and shoulders' or 'half-length' format common in Abbott’s practice (Source 2). The composition aims to reveal the 'inner essence' and 'moral quality' of Herschel rather than just a literal likeness (Source 2). The expression should be serious or gently content, with the mouth neutral, relying on the eyes and eyebrows to convey character, as was typical for the period (Source 2).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the composition lightly, focusing on the three-quarter view of the face. Ensure the eyes and eyebrows are proportioned correctly, as they will carry the primary expression.
Tip — Avoid hard lines; keep the drawing flexible for adjustments.
Initial layout

underpainting

step 02
Apply a monochrome layer using black, ultramarine, and white mixed with oil of copavia. Establish the light and shadow structure of the face and clothing.
Tip — Focus on the 'inner significance' and tonal values rather than color.
Grisaille

first pass

step 03
Once the grisaille is completely dry, begin glazing and scumbling with red and yellow tones. Apply transparent layers of color over the tonal underpainting.
Tip — Use oil of copavia or a similar medium to ensure transparency and flow.
Glazing and Scumbling

refining

step 04
Refine the facial features, particularly the eyes and eyebrows, to convey the subject's character. Use subtle variations in tone and color to express 'quiet menace to gentle contentment' if appropriate to the sitter's demeanor.
Tip — Remember that the mouth should remain relatively neutral; expression is driven by the eyes.
Detailing

finishing

step 05
Adjust the contrast between the face and the background/clothing. Ensure the colors inherent to the model (flesh, eyes, hair) are distinct from the chosen draperies and background.
Tip — Use the law of simultaneous contrast to enhance the vitality of the colors.
Color Contrast

critical techniques

Glazing and Scumbling

Applying transparent coats of color (glazing) and semi-opaque layers (scumbling) over a dry monochrome underpainting. This was a common practice among old masters and Reynolds, allowing for rich, luminous flesh tones.

Monochrome Underpainting (Grisaille)

Using black, ultramarine, and white to establish form and value before introducing color. This separates the structural work from the color work, preventing muddiness.

Expression through Eyes and Eyebrows

Since the mouth is typically neutral in serious portraits, the artist must rely on the eyes and eyebrows to convey the subject's character and moral quality.

common pitfalls

→Attempting to achieve photographic realism at the expense of the medium's vitality. Oil paint should be used as 'painted symbols' expressing feeling, not just to deceive the eye into seeing nature (Source 4).
→Over-modeling or being too tied to the outline. Copying works like Reynolds’s portraits can help check tendencies toward smallness or over-detailing (Source 5).
→Ignoring the dryness of the underpainting before glazing. Glazing must be done on a completely dry surface to avoid mixing with the underlayer (Source 7).
→Failing to distinguish between colors inherent to the model (flesh, hair) and those chosen by the artist (clothing, background), which can lead to a lack of harmony (Source 8).

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 Herschel's clothing and accessories in this portrait are not described in the sources, so the artist must rely on historical references or the original painting for these details.
·The exact background setting (studio, interior, landscape) is not specified in the provided texts.
·Abbott's specific brushwork style (e.g., loose vs. tight) is not detailed in the sources, though his reputation for 'likeness' suggests a careful approach.
·The specific dimensions of the painting are not provided.

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 Grisaille underpainting, glazing, scumbling, and use of oil of copavia
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of using oil paint as expressive symbols rather than mere illusion
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color contrast principles and distinguishing inherent vs. chosen colors

cross-referenced from

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

Wikipedia: Portrait of William Herschel↗
- Portrait of William Herschel — part 1 — applied to Context, date, subject, and commission details
Wikipedia: Portrait painting↗
- Portrait painting — part 2 — applied to Composition principles, expression through eyes/eyebrows, and the goal of revealing inner essence
Wikipedia bio — Lemuel Francis Abbott↗
- Lemuel Francis Abbott — part 1 — applied to Artist's specialization in portraits and reputation for likeness

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 three-quarter view bust portrait with the light source positioned from the left-front, strongly modeling the face and neck. The figure commands the composition against an almost black background that creates dramatic separation. The white cravat becomes the brightest accent, drawing the eye directly to the face, while the reddish-brown coat forms the substantial left mass. The head and face receive the most careful rendering, with the gaze directed slightly down and away, creating a contemplative expression.

value structure

Extreme value range drives this painting: the background sits at the darkest end (nearly black), while the face occupies the mid-to-high range with subtle modulation. The white cravat is the single brightest element, creating a focal hinge between the dark coat and the lit face. Within the face itself, values shift delicately—the cheekbone catches the strongest light, while eye sockets and jaw shadows create depth through deeper tones. Squint and you see three distinct zones: dark frame, mid-value coat, luminous face-and-cravat center.

observed palette and mixes

#160d0c
burnt umber + ivory black
background and deepest shadows in eye sockets, nostrils, jaw line
#7f6153
burnt umber + cadmium red
the reddish-brown coat, main color mass on left and shoulders
#d4b5a0
titanium white + yellow ochre + touch of cadmium red
face skin tone mid-values and highlights, cheekbones, forehead
#f5f1ed
titanium white with minimal warm undertone
white cravat, collar, and highest light accents on face
#c0b8b0
titanium white + ivory black with slight warm bias
the gray-white hair, modeling the form of the skull

edges and brushwork

Almost entirely soft, blended edges define this painting—the face transitions seamlessly from light to shadow with no hard lines. The white cravat shows subtle fold structure but remains softly rendered; edges between the coat and background dissolve into darkness rather than sharpen. Only the eyes and mouth receive slightly more definition through careful value placement rather than edge work. The technique is nearly invisible; brushstrokes serve form and light, never calling attention to themselves.

a working sequence

01
Establish the dark ground and head position
Tone the entire canvas with a thin wash of burnt umber + ivory black to near-black darkness, reserving only the general head and neck area from staining. This dark background will be your value reference for everything lit. Lightly sketch the three-quarter head shape, noting the angle—the face turns slightly away from profile, tilted very slightly downward.
02
Block in the coat and basic form masses
With a #6 or #8 flat brush, paint the reddish-brown coat using burnt umber + cadmium red, keeping the value dark enough to read against the background. Establish where the coat meets the neck and shoulder. This brown mass anchors the composition and gives you a reference for warming and cooling the face against.
03
Map the white cravat structure
Paint the white cravat with titanium white + minimal warm undertone using a #4 round. Notice it's not flat—there are distinct folds creating small shadows and highlights within the white itself. The cravat drapes down in three main sections with subtle shadowing. This is your brightest value anchor and helps you judge face tones.
04
Establish facial proportions and value landmarks
Using a mid-tone mix of titanium white + yellow ochre + burnt sienna, map the general face shape with a #4 round. Place the eye sockets as darker accents using the shadow mix (white + ochre + burnt umber). The cheekbone is where the strongest light hits—leave this area lighter. The jaw line softly rounds; avoid sharp edges. Squint often to check values relative to the coat and cravat.
05
Model the face with light and shadow
Using a #2 or #4 round with a soft touch, blend the face tones across the form. The right side (viewer's left) receives more light and stays warmer. Use burnt sienna + white for shadow areas under the nose and jaw. The forehead and cheekbone should feel luminous—these areas receive direct light. Blend with tiny circular motions; avoid obvious strokes. Pay special attention to the subtle plane changes around the temple and cheekbone.
06
Paint the hair with direction and volume
Mix titanium white + ivory black for a gray, adjusting warmth with a tiny touch of yellow ochre. Using a #6 round, follow the direction of hair growth from the crown downward and around the sides. Hair isn't uniform gray—lighter areas sit where light hits (top of head), darker where it turns away (side and back). Keep edges soft; the hair should feel like it sits on the skull, not float off it.
07
Refine the cravat folds and texture
Return to the cravat with pure titanium white and a #2 round to sharpen any crisper fold edges. Add soft shadows within the white using the shadow mix (white + burnt sienna + touch of black) to show the fabric's dimensional folds. The cravat should feel like draped linen with weight and body, not a flat white area.
08
Final adjustments: edges, values, and likeness
Step back and compare overall values—darken the background if the face doesn't pop enough, lighten face highlights if they feel buried. Soften any edges that read too hard around the coat-to-face transition. Check likeness by comparing proportions: the width of the face relative to the head length, the eye placement, jaw angle. Make final subtle adjustments to shadow placement on the face to deepen the three-dimensional form. The painting is done when the figure feels volumetric and present, not flat.

where studies of this painting go wrong

Failing to make the background sufficiently dark—it must be nearly black (#160d0c range) to create the luminosity effect in the lit face. A muddy or medium-dark background will flatten the portrait entirely.
Overblending the face until it loses structure and likeness—the subtle modeling comes from deliberate, subtle value placement, not relentless blending. Step back frequently to preserve the form.
Treating the white cravat as a single flat white—it has multiple folds with interior shadows that give it volume. Spend time observing and rendering these subtle folds.
Losing the three-quarter view angle through sloppy drawing—if the head orientation is off or the features misplaced, likeness collapses. Double-check proportions and feature placement against the original.
Making the coat too uniform in color and value—look closely for subtle shifts in the reddish-brown across folds and planes. The coat should feel dimensional and lit, not flat.
Forgetting to model the hair as a three-dimensional form—gray hair can become a featureless blob if not rendered with attention to how light defines the skull shape beneath.

measured difficulty