plate no. 7414

Winter Sunshine

Ethel Léontine Gabain, 1935

oilNeo-Romanticismportraitportraitfigureindoorcurtainslaceflowers

recreation guide

Winter Sunshine (1935) by Ethel Léontine Gabain is an oil portrait that reflects the artist’s dual expertise in fine art painting and graphic reproduction. Gabain was a renowned painter and lithographer, known for her ability to produce brilliant, rich black-and-white lithographs as well as oil portraits of actresses and public figures (Source 2). While the specific visual content of Winter Sunshine is not detailed in the provided sources, the work belongs to the Neo-Romantic style and the portrait genre, which historically aims to achieve a recognizable likeness and serve as a record of the sitter’s appearance (Source 4). Gabain’s practice was characterized by a rigorous attention to craft, having studied at the Slade School and under F. E. Jackson, who taught her lithography, suggesting a disciplined approach to line and tone that likely informed her oil painting technique (Source 2).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, Black, White, Yellow, Red tones)	Primary medium for the grisaille underpainting and subsequent glazing/scumbling layers.	Standard artist-grade oil paints; Ultramarine Blue, Ivory Black, Titanium White, Cadmium Yellow/Red or similar transparent reds.
Oil of Copavia (or modern linseed/walnut oil substitute)	Medium for the first and second paintings, as cited in Reynolds’ method which influenced traditional oil practice.	Stand oil or refined linseed oil for glazing; walnut oil for initial layers if a slower drying time is desired.
Varnish	Mixed with oil for later glazing stages to gain mastery over transparent coats.	Dammar varnish or synthetic resin varnish.
Canvas or Panel	Support for the oil painting.	Linen canvas primed with gesso or oil ground.

preparation

surface prep

The surface should be prepared to accept a monochrome underpainting. While Gabain’s specific ground preparation is not detailed, the traditional method described in the sources involves creating a dry grisaille (monochrome) base. This base allows for the subsequent application of transparent glazes and semi-opaque scumbles. The ground should be neutral to allow the 'grey bloom' and color contrasts to emerge effectively (Source 1).

underdrawing

Gabain’s background in lithography and etching suggests a strong emphasis on line and precise contour. However, specific underdrawing techniques for her oil portraits are not explicitly described in the sources. It is likely that she employed a careful preliminary drawing to ensure the 'likeness' required in portrait painting (Source 4), potentially using charcoal or thinned oil, consistent with the academic training she received at the Slade School (Source 2).

underpainting

The underpainting should be executed as a grisaille (monochrome) using black, ultramarine, and white, as described in the traditional method attributed to Sir Joshua Reynolds and discussed in the context of oil painting practice (Source 1). This layer establishes the values and forms without color, allowing the artist to 'mentally extract the red and yellow colours' and focus on the structural integrity of the portrait (Source 1).

color palette

Black, Ultramarine, White

Pure pigments mixed with oil of copavia or linseed oil.

The initial grisaille underpainting to establish form and value (Source 1).

Yellow and Red tones

Transparent yellow and red pigments (e.g., Yellow Ochre, Vermilion, or Cadmiums) mixed with oil and varnish.

Glazing and scumbling over the dry grisaille to introduce color, mimicking the tinting of an engraving (Source 1).

composition

Specific compositional details of Winter Sunshine are not provided in the sources. However, as a portrait, it likely adheres to the genre’s intent to represent a specific human subject with a recognizable likeness (Source 4). Gabain’s experience with lithography may have influenced a composition that emphasizes clear contours and tonal contrast, similar to the 'chiaro-scuro' effects discussed in color theory (Source 6). The arrangement of elements would prioritize the sitter’s face and upper body, consistent with standard portrait conventions of the period.

step by step

underdrawing→underpainting→first pass→drying→refining→finishing

underdrawing

step 01
Sketch the portrait lightly, focusing on accurate proportions and likeness, leveraging the artist’s lithographic precision.
Tip — Ensure the drawing is secure but not so heavy that it interferes with the underpainting.
Preparatory drawing

underpainting

step 02
Apply a monochrome grisaille using black, ultramarine, and white mixed with oil of copavia (or linseed oil). Establish all values and forms.
Tip — Mentally extract red and yellow colors, focusing on what remains in nature without them (Source 1).
Grisaille

first pass

step 04
Begin glazing and scumbling with oil. Apply transparent coats of yellow and red tones where they occur in the subject.
Tip — Treat the process like tinting an engraving with watercolors (Source 1).
Glazing

drying

step 03
Allow the grisaille to dry completely before proceeding to color layers.
Tip — Rushing this step can cause muddiness in the glazes.
Drying

refining

step 05
As mastery is gained, mix varnish with oil for subsequent glazes. Use scumbling (semi-opaque painting) over darker grounds to create coldness or grey blooms.
Tip — Observe how the underlying painting shows through the semi-opaque layer (Source 1).
Scumbling

finishing

step 06
Refine the likeness and adjust color contrasts, ensuring the final image retains the vitality of the medium rather than just mimicking nature.
Tip — Remember that art is an expression of feeling, not just a deception of the eye (Source 8).
Final adjustment

critical techniques

Glazing and Scumbling

Glazing involves applying a transparent coat of color over a dry underpainting. Scumbling involves applying a semi-opaque layer where the underlying painting remains visible. This method was practiced by old masters and allows for rich color depth and tonal variation (Source 1).

Grisaille Underpainting

Creating a monochrome base using black, ultramarine, and white to establish form and value before introducing color. This separates the structural work from the color work (Source 1).

Lithographic Precision

Gabain’s training in lithography likely informed her attention to line and tonal contrast, contributing to the clarity and definition in her portraits (Source 2).

common pitfalls

→Applying color before the grisaille is completely dry, which can ruin the transparency of the glazes (Source 1).
→Over-modeling or becoming too tied to the outline, which can result in a stiff appearance. Copying works like Reynolds’ portraits can help check this tendency (Source 7).
→Attempting to deceive the eye with mere naturalism rather than expressing the vitality of the medium and the artist’s feeling (Source 8).
→Ignoring the laws of simultaneous contrast, which can lead to muddy or ineffective color juxtapositions (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.

·The specific subject matter, pose, and background details of Winter Sunshine are not described in the sources.
·Gabain’s exact pigment choices for this specific 1935 work are not recorded; the palette is inferred from general oil painting practices of the time and the sources provided.
·The specific dimensions and support type (canvas vs. panel) for this artwork are not mentioned.
·Details about the sitter’s clothing, jewelry, or expression are absent from the provided text.

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, glazing, scumbling, and color palette steps.
- ON COPYING — applied to Advice on avoiding over-modeling and stiffness.
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of medium vitality and avoiding mere deception.
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color contrast and harmony principles.

cross-referenced from

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

Wikipedia bio — Ethel Léontine Gabain↗
- part 1 — applied to Artist’s background, lithographic influence, and portrait genre context.
Wikipedia: Portrait painting↗
- Portrait painting — part 1 — applied to Genre intent and likeness requirements.

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

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