plate no. 1779

William Herschel

oilRococoportraitportraitfiguremanclothinghistoricalhair

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