plate no. 8181

05. Daffodils After Still Life Vase with Fourteen Sunflowers 2017 by Anthony D. Padgett (after Van Gogh Arles 1888)

Anthony Padgett, 2017

oilPost-Impressionismsymbolic paintingflowersdaffodilsvasestill lifetablebackground

recreation guide

This artwork is a 2017 oil painting by Anthony D. Padgett, titled '05. Daffodils After Still Life Vase with Fourteen Sunflowers 2017 (after Van Gogh Arles 1888)'. It is classified within the Post-Impressionist style and the genre of symbolic painting. The work is a reinterpretation of Vincent van Gogh’s famous sunflower series, substituting daffodils while retaining the structural and chromatic intensity associated with the original. The recreation relies on traditional oil painting techniques, specifically the method of building color through glazing and scumbling over a monochrome underpainting, a practice documented in historical treatises on the methods of old masters (Source 1). The composition likely adheres to principles of visual balance, avoiding exact bisections and utilizing a center of interest to guide the viewer’s eye (Source 3).

estimated time

20-30 hours over 5-7 sessions (allowing for drying times between glaze layers)

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Yellow Ochre, Cadmium Yellow, Cadmium Red)	Primary pigments for the grisaille underpainting and subsequent color glazes.	—
Oil of Copavia (or modern stand oil/linseed oil)	Medium for the first and second paintings, as cited in Reynolds' method.	Stand oil or refined linseed oil
Varnish	Mixed with oil for later glazing stages to increase transparency and flow.	Dammar varnish or resin varnish
Canvas or prepared panel	Support for the oil layers.	—
Soft charcoal or graphite	Underdrawing.	—

preparation

surface prep

Prepare a standard oil ground on canvas or panel. While specific preparation for Padgett is not detailed in the sources, the technique described in Source 1 assumes a surface capable of holding a dry grisaille underpainting before glazing. Ensure the ground is smooth enough to allow for the 'transparent coat of colour' (glazing) to sit evenly without absorbing too much oil.

underdrawing

Create a precise drawing of the vase and daffodils. Given the 'symbolic painting' genre and the reference to Van Gogh’s structured still lifes, the drawing should be accurate. Avoid leaving the drawing visible in the final work if using the glazing method, as the underpainting will be covered by transparent layers.

underpainting

Execute a grisaille (monochrome) underpainting using only black, ultramarine, and white, mixed with oil of copavia (Source 1). This step involves 'mentally extracting the red and yellow colours' and translating what would remain in nature if those colors were absent (Source 1). This establishes the tonal values and forms before any color is applied.

color palette

Ultramarine/Black/White

Ultramarine, Ivory Black, Titanium White

The grisaille underpainting to establish form and value without local color.

Yellow Tones

Cadmium Yellow, Yellow Ochre, mixed with varnish/oil

Glazing over the dried grisaille to introduce the daffodil hues.

Red Tones

Cadmium Red, Vermilion, mixed with varnish/oil

Glazing to add warmth and depth, particularly in shadows or background elements.

Grey Bloom

Scumbled semi-opaque grey over darker ground

Creating coldness or atmospheric effects, as noted in Source 1.

composition

Arrange the daffodils and vase to create a clear center of interest, preventing the work from becoming a mere pattern (Source 3). Ensure the prominent subject is off-center to balance the composition, using smaller satellite elements (such as individual petals or leaves) to counterweight the main mass (Source 3). Avoid exact bisections of the picture space; position the horizon or base line to emphasize either the background or the foreground, rather than dividing the canvas equally (Source 3). Vary the spaces between objects to create visual interest (Source 3).

step by step

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

underdrawing

step 01
Sketch the composition of the vase and daffodils, ensuring the focal point is off-center and spaces between elements vary.
Tip — Check that no two spaces between objects are identical to avoid a static pattern.
Compositional planning

underpainting

step 02
Mix black, ultramarine, and white with oil of copavia. Paint the entire composition in monochrome (grisaille), focusing on light and shadow values.
Tip — Mentally exclude red and yellow hues; paint only the structural tones that would remain if those colors were absent.
Grisaille underpainting

first pass

step 04
Begin glazing with transparent coats of yellow and red tones. Use oil as a medium initially.
Tip — Apply color much like tinting an engraving with watercolors, building up intensity gradually.
Glazing

drying

step 03
Allow the grisaille to dry completely. This is critical before applying glazes.
Tip — Rushing this step will cause the glaze to mix with the underpainting, ruining the transparency.
Layering

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 if needed.
Tip — Observe simultaneous contrast; ensure that adjacent colors do not unintentionally alter the perceived hue of the daffodils.
Scumbling and Glazing

finishing

step 06
Review the composition for balance. Ensure the viewer's eye is led around all elements before exiting the picture.
Tip — Check for 'rest' areas to balance detailed sections of the flowers.
Compositional review

critical techniques

Glazing

Applying a transparent coat of color over a dry underpainting to build luminosity and depth. This method was practiced by old masters and is essential for this recreation.

Scumbling

Applying a semi-opaque layer over a darker ground to create coldness or a 'grey bloom'. This allows the underlying painting to show through, modifying the tone.

Simultaneous Contrast Awareness

Being aware that adjacent colors affect each other's appearance. The painter must perceive the true color of each part despite the influence of contiguous colors.

common pitfalls

→Applying glazes before the grisaille is completely dry, which will muddy the colors and destroy the transparency effect (Source 1).
→Ignoring simultaneous contrast, leading to inaccurate color perception where the eye sees the complementary of a previously viewed color rather than the true hue (Source 2).
→Creating a static composition by placing the subject in the exact center or dividing the space equally, which fails to engage the viewer's eye dynamically (Source 3).
→Using opaque paint for the color layers instead of transparent glazes, which defeats the purpose of the 'old master' technique described in Source 1.

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 brushwork style of Anthony D. Padgett (e.g., impasto vs. smooth) is not detailed in the sources; the guide assumes a glazing technique based on Source 1, which may differ from Padgett's actual physical application if he uses thick impasto like Van Gogh.
·The exact symbolic meaning of the daffodils in this specific work is not described in the sources, only the genre classification.
·The specific proportions of the vase and flowers are not provided in the text, requiring the artist to reference the original Van Gogh composition or Padgett's specific image.

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 (grisaille) and glazing/scumbling techniques.
Laws of Contrast of Colour↗
- 315-318 — applied to Color perception and avoiding errors due to simultaneous contrast.

cross-referenced from

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