Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
1
No. 1
Title
The hymn of the Last Supper
Quotation (if any)
“And when they had sung a hymn
they went out unto the Mount
of Olives_”
Name of Artist
Edward Armitage
________________________________________________________________________________
Canvas or panel. Ground priming.
Absorbent .. ..
partially absorbent.
Non-absorbent ..
White? .. .. ..
prepared very thickly with
solid white lead-colour, and
allowed to dry for a year
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ...
A little Sp. of turpentine
at first _ afterwards Roberson’s
Medium, which is a compound
of linseed oil & copal
Varnish (if any) ..
None ____
Exceptional pigments (if any)
Jaune Pinard
Vert de Cobalt.
French colours_
Mode of procedure ..
The canvass having been prepared
with a very thick coating of brilliant
white, it is not necessary to use
a very thick impasto in painting_
I always use French brushes_
When commenced ..
Oct.r 1875.
studies for the picture
made in the summer of 1875
When finished .. ..
March 1876
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
2
No. 2
Title
Phryne
Quotation (if any)
Apelles painted his famous Venus
Anadyomene after he had seen
Phryne bathing on the seashore
Name of Artist
Edward Armitage
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
partially absorbent
Non-absorbent ..
White? .. .. ..
French canvas thinly covered
with a coating of white lead
and allowed to dry for 6 months
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ..
a little turpentine at first
afterwards Roberson’s medium
which is a mixture of copal & linseed oil
Varnish (if any) ..
None
Exceptional pigments (if any) .. ..
Jaune Pinard
Vert de Cobalt
French colours
Mode of procedure ..
rather solid modelling at first
without any medium beyond a little
sp. of turpentine. Afterwards thin
scumblings & repainting with
Roberson’s medium
When commenced ..
October 1875
study for marble rocks
made at Torquay
October 1875
When finished .. ..
March 1876
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
3
No.
Title
The Day’s Decline
Quotation (if any)
xxx And sweet the coming on
Of grateful evening mild xxx
Milton.
Name of Artist
Vicat Cole
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
Winsor & Newton
Thin priming on ticken prepared by
Zinc white stiffened by absorption of
oil, thinned by Benzine & mixed
with Amber Varnish
White? .. .. ..
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ..
Amber Varnish, thinned with
Benzine.
Varnish (if any) ..
Exceptional pigments (if any) .. ..
Various ochres principally used. Pigments avoided
which are made from Lead, or Copper, such
as Flake White, Chrome Yellow, Sugar of lead, Emerald
Green, Malachite Green &c.
Mode of procedure ..
The work commenced transparently on a white Ground
with stiff oil colours mixed with Amber & Benzine
& towards the finishing with opaque colours
with rather more oil in them
When commenced ..
February 25. 1876
When finished .. ..
April 2. 1876.
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
4
No. 1
Title
Philae – “The beautiful” – at early morn
looking south. The Ruins, which are most of them
of the date of the Ptolemies and the Caesars
include – on the right – The Temple of Isis,
with its huge massive Pylons, and on the
left the building commonly called
Pharaoh’s Bed.
Quotation (if any)
Name of Artist
E.d W.m Cooke :R.A.
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
Canvas
White? .. .. ..
white
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ..
Copal _ Fat-oil _ and Sp of Turpentine
Varnish (if any) ..
no varnish
Exceptional pigments (if any) .. ..
nothing
Mode of procedure ..
When commenced ..
Dec.r 1875
When finished .. ..
March 31. 1876.
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
5
No. 2
Title
A Zuijder Zee Port. This Inland
sea is about to be drained by the
Dutch Government
Quotation (if any)
Name of Artist
E.d W.m Cooke :R.A.
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
canvas
White? .. .. ..
white
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ..
Copal & Fat-oil & Sp: of Turpentine
mixed.
Varnish (if any) ..
none
Exceptional pigments (if any) .. ..
none
Mode of procedure ..
When commenced ..
Nov.r 1875.
When finished .. ..
March 29 1876.
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
6
No. 4
Title
A Zuijder Zee Fishing Haven.
Quotation (if any)
Name of Artist
E.d W.m Cooke :R.A.
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
Canvas
White? .. .. ..
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ..
Copal. Fat-oil & Turpentine
Varnish (if any) ..
no varnish
Exceptional pigments (if any) .. ..
none
Mode of procedure ..
When commenced ..
Dec.r 1876.
When finished .. ..
March 30 1876
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
7
No.
Title
Council of the RA sitting in Jury on
the pictures.
Quotation (if any)
Name of Artist
CW Cope – RA. –
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Absorbent ( Size & Whiting.)
Non-absorbent ..
White? .. .. ..
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ..
Roberson Prepn of Copal & Turps
& “Vehicle” in shadows.
Varnish (if any) ..
Exceptional pigments (if any) .. ..
Mode of procedure ..
Preparation
1 Outlines drawn & hatched with Indian Ink on the white “jesso” ground.
2 a tint in thin oil colour & Turps, mixed with a little white &c to the
colour of dead gold passed over the whole_ Then outline shining through.
3 Shadows inserted with transparent colours: high lights impacted with white.
4 Painted the picture over this preparation.
When commenced ..
1865 July.
When finished .. ..
1866 March.
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
8
No. 1
Title
“Mares & foals – Picardy”
Quotation (if any)
Name of Artist
H.W.B. Davis
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
Ordinary primed canvas
(Winsor & Newton) on the
lightest made ground_
White? .. .. ..
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ..
Siccatif de “Harlem &
Benzine_
Varnish (if any) ..
Exceptional pigments (if any) .. ..
Pigments used
Flake White – Naples Yellow - Cadmium
Ochres, Light Red, Vermillion, Rose Madder
Burnt Lake, Cobalt French Ultramine
Antwerp Blue, Raw Sienna & Burnt do,
Raw & burnt Amber, Vandyke Brown,
Ivory black, Terre Verte _
Mode of procedure ..
The drawing laid
in slightly and
transparently with
black & red & then
painted on solidly at once
When commenced ..
Jan.y 1875
When finished .. ..
March 1876
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
9
No. 2
Title
“Early Summer”
Quotation (if any)
Name of Artist
H.W.B. Davis
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
Ordinary white ground
non-absorbent
White? .. .. ..
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ..
Painted as an experiment
with Mastic Varnish & turpentine
but not liked_.
Varnish (if any) ..
For sky Benzine with slight addition
of Linseed Oil_
Exceptional pigments (if any) .. ..
The Cadmiums – Lemon Yellow
for the distance here & there – and
Indian Yellow here & there in the
foreground_
Mode of procedure ..
Painted in directly without
any preparation
When commenced ..
1875
When finished .. ..
March 1876
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
11
No. 4
Title
“A Spring Morning”
Quotation (if any)
Name of Artist
H.W.B. Davis
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
White? .. .. ..
Ordinary White primed
canvas (Winsor & Newton)
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ..
Amber Varnish and
rectified Spirits of Turpentine
Varnish (if any) ..
Exceptional pigments (if any) .. ..
Mode of procedure (if any) .. ..
The picture first laid in in amber
& light red _ & painted solidly on
after when dry _ The laying in being
in transparent colour with the above
vehicle _ The sky painted on to a
warm uniform coating of white and
Naples Yell.
When commenced ..
Feb. 1876
When finished .. ..
March
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
12
No.
Title
The Offering
Quotation (if any)
Name of Artist
W.C.T. Dobson R.A.
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
Non-absorbent
White? .. .. ..
nearly White
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order?
Oil Copal Varnish. 2 parts
Raw Linseed Oil. 1 part
Spirit of Turpentine. 2 parts
mixed and kept in a bottle for use
Varnish (if any) ..
The above mixture is used as a Varnish when
required
Exceptional pigments (if any) .. ..
Mode of procedure ..
Painted at first solid with plenty of colour paint on a light
scale – afterwards the colours are used semi Transparent
so that the light under painting shews through.
All the colours are mixed with the above vehicle
When commenced ..
16 Feby /76
When finished .. ..
20 March /76
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
13
No. 1
Title
Richard 2nd resigning the Crown to
Bolingbroke_
Quotation (if any)
Name of Artist
John Gilbert
________________________________________________________________________________
Canvas or panel. Ground priming
Canvas
Absorbent .. ..
Non-absorbent ..
a non-absorbent ground.
White? .. .. ..
no
Tinted (how?) ..
Indian Red _ deep in colour.
Vehicles .. .. ..
What, and in what order? .. ..
First Amber Varnish.
afterwards Glazed and Toned with
Roberson’s Medium
Varnish (if any) ..
Exceptional pigments (if any) .. ..
not any.
Mode of procedure ..
Simply painting each object as near
its proper colour at once. Strengthening
toning, and enriching afterwards.
When commenced ..
May. 1875
When finished .. ..
March 1876.
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
14
No. 2
Title
Crusaders.
Quotation (if any)
“They rein their steeds, they strike, they ward by turns;
their fury kindles as the combat burns,
Where best their force can plate or joint invade,
They speed the thrust, or whirl the beamy blade”.
Orlando Furioso.
Name of Artist
John Gilbert
________________________________________________________________________________
Canvas or panel. Ground priming
a rough
canvas
Absorbent .. ..
Non-absorbent ..
a non-absorbent ground
White? .. .. ..
a warm white
Tinted (how?) ..
not tinted.
Vehicles .. .. ..
What, and in what order?
First Linseed Oil and Turpentine.
The picture got in entirely with raw Amber.
light, shad, and general effect_
Varnish (if any) ..
afterwards Roberson’s Medium for the Colour.
Exceptional pigments (if any) .. ..
not any.
Mode of procedure ..
When commenced ..
Sept.r 1875.
When finished .. ..
March. 1876
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
15
No. 1
Title
Daphnephoria
Quotation (if any)
Name of Artist
Fred Leighton
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
semi absorbent (single primed)
White? .. .. ..
white
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order?
linseed oil and turpentine first
towards the end clarified poppy oil
and turpentine
Varnish (if any) ..
rubbed thinly over with Roberson’s Medium
Exceptional pigments (if any) .. ..
Mode of procedure ..
sketched in in monochrome _ brown and white,
then thickly scumbled over with a grey tint*_ then
painted up with the full colours.
* except the sky which was laid in in pure white and
washed over with amber when dry
When commenced ..
1874
When finished .. ..
1876.
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
16
No.
Title
Portrait of Captn Richard Burton
Quotation (if any)
Name of Artist
Fred Leighton
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
primed with a mixture of flour, water
oil, flake white and whiting
White? .. .. ..
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ..
Starch and oil boiled to the consistency
of thick cream
Varnish (if any) ..
rubbed over with “huile chromophile” / probably
poppy oil clarified with charcoal – and lastly
with Lochnés Varnish
Exceptional pigments (if any) .. ..
Mode of procedure ..
underpainted in strong masses with brown and
white – washed over when dry with indigo powder
rubbed up in water _ then painted up with the
full palette
When commenced ..
1872
When finished .. ..
1875
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
17
No.
Title
“Cinderella”
Quotation (if any)
“She saw them depart for the ball.”
Name of Artist
Henry Le Jeune
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
A very light, warm, flesh tint of
Flake White, Naples Yellow & Vermilion
spread on the ordinary panel ground.
Non-absorbent ..
White? .. .. ..
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ..
Copal, Oil & Turpentine mixed.
Varnish (if any) ..
Exceptional pigments (if any) .. ..
Mode of procedure ..
Painted without any other preparation
than the above named ground.
When commenced ..
24.th January 1876.
When finished .. ..
31.st March ------
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
18
No. 1
Title
“My Duty towards my Neighbour.”
Quotation (if any)
Name of Artist
G.D. Leslie
8 Grove End Road
St John’s Wood N.W.
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
French Canvass very fine grain
White? .. .. ..
Low toned White
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ..
None whatever except the
oil the colours are ground in
Varnish (if any) ..
Intended to be varnished with Mastic
Exceptional pigments (if any) .. ..
some chrome yellow in the greens
Mode of procedure ..
Painted solidly throughout i.e. F.White
mixed with everything at first, and no
glazing at all
When commenced ..
September 1875
When finished .. ..
February 1876.
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
19
No. 2
Title
Violet
Quotation (if any)
Name of Artist
G.D. Leslie
8 Grove End Road
St John’s Wood N.W.
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
English Canvass
White? .. .. ..
White
Tinted (how?) ..
Tinted with raw Amber & White
& rubbed over with dry White Chalk
Vehicles .. .. ..
What, and in what order? .. ..
None whatever colours used as
they are ground in oil.
Varnish (if any) ..
Intended to be varnished with Mastic
Exceptional pigments (if any) .. ..
Green & Grey Cobalt in the blues
Mode of procedure ..
Painted solidly throughout no glazing
at all
When commenced ..
August 1875
When finished .. ..
December 1875
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
20
No. 3
Title
Roses
Quotation (if any)
Name of Artist
G.D. Leslie
8 Grove End Road
St John’s Wood N.W
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
English Canvass
White? .. .. ..
White
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ..
a little Sicatif de Harlem in
finishing
Varnish (if any) ..
intended to be Varnished with Mastic
Exceptional pigments (if any) .. ..
Chrome in the greens
Mode of procedure ..
Painted solidly throughout the background
was glazed to deepen the effect a little & the
grass had some powdered plaster of Paris mixed
in oil & mixed with the green paint to give
it richness
When commenced ..
June 1875
When finished .. ..
August 1875
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
21
No. 4
Title
Lavender
Quotation (if any)
Name of Artist
G.D. Leslie
8 Grove End Road
St John’s Wood N.W
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
White? .. .. ..
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ..
Varnish (if any) ..
Water Colours
Exceptional pigments (if any) .. ..
Mode of procedure ..
When commenced ..
May 1875
When finished .. ..
July 1875
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
22
No. 1
Title
Mid-day Meal. Cairo
Quotation (if any)
Name of Artist
John F. Lewis R.A.
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
No
A thin fine grained Canvas. thinly primed
with white _ supposed to be Flake White in Oil
or oil & turpentine. Then a thin Tint of White
with very little oil in it _ and when dry
a very Smooth Surface produced by
Pumice stone _ This Canvas to be strained
over a Stout close grained Canvas & also
primed with oil_
Non-absorbent ..
Yes
White? .. .. ..
Yes
Tinted (how?) ..
Not tinted
Vehicles .. .. ..
What, and in what order? .. ..
Copal Varnish _ diluted where required
with Hill’s refined Turpentine _ The powerful
& rich parts of the Picture pure Copal _ The opaque
or light parts very little of any kind of vehicle generally
Turpentine
Varnish (if any) ..
Varnish none
Exceptional pigments (if any) .. ..
None
Mode of procedure ..
Getting in various parts of the Picture _ Shadows _
Pose of figures, Effect, Perspective &c With a
Neutral tone with Vandyke Brown & White, with turpentine
(Transparent) then entirely from Nature paint My
Figures, as powerfully as I can both in Color & Vehicle
Never leaving them until they look complete_ Colour of
Course having been previously arranged in a Sketch
To enforce Colour in powerful foreground Shadows using
Roberson’s Medium
When commenced ..
When finished .. ..
Commenced about 1871 touched upon occasionally
until 1875. Scarcely finished at present
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
23
No. 2
Title
A Cairo Bazaar. “The Dellál”
Quotation (if any)
“In Many of the Sooks of Cairo Auctions are held on”
“Stated days _ They are Conducted by Delláls or“
“(Brokers) hired either by persons who have anything”
“they wish to sell in this manner, or by Shopkeepers” “
“The Delláls carry the goods up & down announcing”
“the Sums bidden for them with cries of “harraj harraj” &cc
Vide Lane’s “Modern Egyptians”
Name of Artist
John F. Lewis R.A.
________________________________________________________________________________
Canvas or panel. Ground priming
Painted on
French Panel
Ground White
Absorbent .. ..
No
Non-absorbent ..
Yes
White? .. .. ..
Yes
Tinted (how?) ..
No
Vehicles .. .. ..
What, and in what order? .. ..
Same as No 1_
Varnish (if any) ..
Not any Varnish
Exceptional pigments (if any) .. ..
None
Mode of procedure ..
Same as No 1
When commenced ..
October 1873 Painted on
until 1875 + Slightly touched on by
+ Fredk Goodall Esqr R.A in 1876.
+ Do not print this in the Catalogue unless Mr Goodall wishes it_
When finished .. ..
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
24
No. 3
Title
On the Banks of the Nile Upper Egypt.
Quotation (if any)
Name of Artist
John F. Lewis R.A.
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
No
Primed Very White – with
very little oil in it
Non-absorbent ..
Yes
White? .. .. ..
Yes
Tinted (how?) ..
Not tinted
Vehicles .. .. ..
What, and in what order? .. ..
Sky painted with Linseed & Poppy
Oil _ the rest of the Picture the Same
as No 1 & No 2
Varnish (if any) ..
None
Exceptional pigments (if any) .. ..
None
Mode of procedure ..
Same as No. 1 & No 2.
When commenced ..
Sketched out about ten Years ago _ put aside
until 1872. Touched on accasionally until
1875 _ Scarcely considered as finished yet_
When finished .. ..
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
25
No.
Title
‘Bethesda’
Quotation (if any)
St John Chap 5. verses 2.3.4.
Name of Artist
Edwin Long
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Painted on a rough french
canvass, covered with 3 solid
coats of Flake White more than
two years ago, the last coat yellowish
Non-absorbent ..
White? .. .. ..
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ..
Copal, Nut oil, Turpentine, mixed warum
also a little Robersons Medium in parts
Varnish (if any) ..
Exceptional pigments (if any) .. ..
Indian the principal red in flesh
a good deal of Ultramarin ash, other colors very
simple
Mode of procedure ..
Flesh laid in without much detail with solid
grey rather lighter than the tone required
finished over this as much as possible at once
When commenced ..
14th Jany 1876
When finished .. ..
3rd April 1876
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
26
No. 1
Title
The Apothecary
Size 4ft.9in x 2.f10in.
Quotation (if any)
“I do remember an Apothecary” &c &c.
Romeo & Juliet
Name of Artist
Henry Stacy Marks__
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
Canvas non-absorbent
White? .. .. ..
Tinted (how?) ..
The ordinary Colourmans tint.
Vehicles .. .. ..
What, and in what order? .. ..
Roberson’s medium throughout
but in small quantities
Varnish (if any) ..
none
Exceptional pigments (if any) .. ..
none
Mode of procedure ..
The broad masses first rubbed in until
the desired tones were approximately reached_
Then each part painted at once _ all the still
life has never been retouched after the first one painting
When commenced ..
The latter part of 1875
When finished .. ..
March 1876.
H. Stacy Marks March 31 1876.
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
27
No. 2
Title
“Journeys end in lovers’ meeting
Every wise man’s son doth know
Quotation (if any)
Size 3ft 8in x 2ft 3in.
Name of Artist
Henry Stacy Marks_
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
Canvas non absorbent
White? .. .. ..
Tinted (how?) ..
The usual Colourmans tint
Vehicles .. .. ..
What, and in what order? .. ..
Linseed oil
Varnish (if any) ..
none
Exceptional pigments (if any) .. ..
none
Mode of procedure ..
The sky and first laid in with a solid
painting of pure white_ the trees ground &
in different shades of brown. Several paintings
over this but allowing plenty of time for drying
between each._
When commenced ..
Decr 23 1875
When finished .. ..
March 1876.
H. Stacy Marks
March 31. 1876.
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
28
No. 1
Title
Atalanta’s Race.
Quotation (if any)
Name of Artist
Edward J. Poynter
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
Canvas
White? .. .. ..
Tinted (how?) ..
Half-primed ordinary tint
Vehicles .. .. ..
What, and in what order? .. ..
Roberson’s Medium only
lined then in rubbing on thin colour
Varnish (if any) ..
Exceptional pigments (if any) .. ..
Mode of procedure ..
Figures underpainted in terra-verte
architecture &c in black & white _ architecture
& pavement only thinkl thinly tinted over
with warm colour _ Raw amber &c & white
When commenced ..
about July last /75
When finished .. ..
Ap. 3d 76.
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
29
No. 2
Title
Cecil Wedgwood (portrait)
Quotation (if any)
Name of Artist
Edward J. Poynter
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
Half-primed ordinary canvas
White? .. .. ..
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ..
Varnish (if any) ..
Exceptional pigments (if any) .. ..
Under-painted Terra Verte & Flake-white
all later painting done with Zinc-white
Mode of procedure ..
When commenced ..
When finished .. ..
about Xmas 75.
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
30
No.
Title
Calling the Sheep_ to Fold”
Quotation (if any)
Name of Artist
Richd Redgrave
________________________________________________________________________________
Canvas or panel. Ground priming
Size 2f-3½high
3f-5¼wide
Absorbent .. ..
Non-absorbent ..
White? .. .. ..
Tinted (how?) ..
Stone Colour as prepared by the Colourman
Vehicles .. .. ..
What, and in what order? .. ..
Siccatif-de Haarlem, stayed from
drying too fast by about 1/12th of Linseed or nut oil
after being dry for about 2 months oiled out and
a very thin coat of Siccatif passed over all but sky
Varnish (if any) ..
Exceptional pigments (if any) .. ..
Cadmium in parts especially sunny side of hill
Mode of procedure ..
The general Masses laid on with bone brown
Changed in the direction of the Masses of local colour
and then finished almost wholly in face of Nature
September 1875
When commenced ..
1 November 1875
When finished .. ..
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
31
No.
Title
“To Market under the Hill
size 3f high 3f4 wide
Quotation (if any)
Name of Artist
Richd Redgrave
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
White? .. .. ..
Tinted (how?) ..
Stone Colour as prepared by Colourman
Vehicles .. .. ..
What, and in what order? .. ..
Siccatif de Haarlem stayed
from drying too fast by about 1/12th of Linseed or nutoil
after being dry about 2 months oiled out and a
thin coat of Siccatif passed over all but the sky
Varnish (if any) ..
Exceptional pigments (if any) .. ..
_ Cadmium _ Lemon yellow _Strontium
Mode of procedure ..
The general Masses laid on with bone brown
changed in the direction of the Masses of local colour
darkest parts Vandyck Brown _ Finished almost
wholly on the spot before nature
When commenced ..
_ July 1875
When finished .. ..
Completed September 1875
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
32
No. 1
Title
Christian descending the hill Difficulty
Quotation (if any)
“Then he began to go forward, but Discretion,
Piety, Charity, and Prudence would accompany
him down to the foot of the hill”
Name of Artist
Robert Thorburn. Bunyan’s Pilgrims Progress.
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Yes
Non-absorbent ..
White? .. .. ..
Yes
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ..
Equal portions of Poppy oil
and Turpentine_
Varnish (if any) ..
Exceptional pigments (if any) .. ..
Mode of procedure ..
When commenced ..
When finished .. ..
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
33
No. 2
Title
The Sun Dial
Quotation (if any)
“Every hour wounds, the last kills”
Name of Artist
Robert Thorburn
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Yes
Non-absorbent ..
White? .. .. ..
Yes
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ..
Equal portions of Poppy oil
and Turpentine.
Varnish (if any) ..
Exceptional pigments (if any) .. ..
Mode of procedure ..
When commenced ..
When finished .. ..
Members' methods of procedure
© Photo: Royal Academy of Arts, London.
This image is not available to download. To licence this image for commercial purposes, contact our Picture Library at picturelibrary@royalacademy.org.uk
34
No. 3
Title
by the Sea _ a Study
Quotation (if any)
Name of Artist
G.F. Watts
Little Holland House
Kensington
________________________________________________________________________________
Canvas or panel. Ground priming
Absorbent .. ..
Non-absorbent ..
White? .. .. ..
White
Tinted (how?) ..
Vehicles .. .. ..
What, and in what order? .. ..
Fresh Linseed Oil
Varnish (if any) ..
Exceptional pigments (if any) .. ..
Mode of procedure ..
When commenced ..
1876_
When finished .. ..
RA Collection: Archive
RAA/LIB/4/1
Members' methods of procedure
1876
Item
371 A