plate no. 5809
07. Self Portrait of Vincent Van Gogh Paris 1887 by Anthony D.Padgett 2017
Anthony Padgett, 2017
recreation guide
This artwork is a 2017 oil painting by Anthony Padgett, titled '07. Self Portrait of Vincent Van Gogh Paris 1887'. It is classified within the Post-Impressionist style and the genre of symbolic painting. As a recreation of a specific historical moment (Van Gogh in Paris, 1887), the work likely engages with the visual language of that period, characterized by the exploration of color theory and light. The medium is oil, which allows for the manipulation of texture, value, and form through layering techniques such as glazing and scumbling, as well as the use of drying oils like linseed or safflower to control drying times and film strength (Source 1). The composition relies on the organization of visual elements—line, shape, color, texture, value, form, and space—to create a structured representation rather than a mere photographic deception (Source 4, Source 3).
estimated time
20-30 hours over 5-7 sessions
materials
7 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (various pigments) | Primary medium for color application | — |
| Linseed oil | General purpose drying oil for mixing paint; provides strong film | — |
| Safflower or Poppyseed oil | Mixing medium for lighter colors (whites) to prevent yellowing | — |
| Canvas | Support surface; resists cracking better than wood and holds pigments well | — |
| Gesso or ground preparation | To prepare the canvas surface for oil application | — |
| Brushes (various sizes) | Application of paint, allowing for fine brush strokes and texture | — |
| Palette knife | Mixing paints and applying thick layers (impasto) if desired | — |
preparation
surface prep
The support is likely canvas, which became popular in Northern Europe and Italy from the 16th century onwards due to its ability to resist cracking and hold pigments better than wood (Source 5). The surface should be prepared with a ground suitable for oil painting. While specific preparation for Padgett is not detailed, standard practice involves priming the canvas to create a stable surface for the oil layers. The artist should ensure the ground is dry before beginning the underpainting.
underdrawing
The sources do not specify Padgett's underdrawing method. However, in the tradition of oil painting, an underdrawing may be used to establish the composition and proportions. Given the symbolic nature of the work, the drawing phase is critical for establishing the 'painted symbols' that express the artist's feeling rather than just deceiving the eye (Source 3). If the artist works wet-on-wet, the underdrawing might be minimal or integrated into the first paint layer.
underpainting
A monochrome underpainting (grisaille) is a traditional technique that can be employed here. This involves painting the composition in a single color (often gray or brown) to establish values and forms before applying color. This method allows the artist to focus on light and shadow without the distraction of color, and it provides a foundation for subsequent glazing and scumbling (Source 8). The grisaille should be allowed to dry completely before proceeding.
color palette
White
Titanium White or Zinc White (modern equivalents of Lead White)
Highlights and mixing lighter tones; historically, Lead White was dominant for its opacity and fast drying, but modern artists use safer alternatives (Source 1).
Yellows
Cadmium Yellow, Yellow Ochre, or modern equivalents of Lead-Tin Yellow
Warm tones and highlights; Lead-Tin Yellow was used by Dutch Golden Age painters, indicating a historical precedent for bright yellows in oil painting (Source 1).
Reds
Cadmium Red, Alizarin Crimson, or Vermilion
Warm accents and flesh tones; used in glazing and scumbling to build up color depth (Source 8).
Blues
Ultramarine, Cobalt Blue
Cool tones and shadows; Ultramarine was used by Sir Joshua Reynolds in his underpainting method (Source 8).
Greys/Browns
Raw Umber, Burnt Sienna, Black
Underpainting (grisaille) and shadows; Black and Ultramarine were used by Reynolds for initial layers (Source 8).
composition
The composition organizes visual elements such as line, shape, color, texture, value, form, and space (Source 4). In a self-portrait, the central visual element is the figure, which relates to the surrounding space. The artist should consider the 'positive' space of the figure and the 'negative' space around it. The composition should not aim for mere photographic deception but should express feeling through painted symbols (Source 3). The arrangement of elements should guide the viewer's eye through the piece using line and value contrasts.
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the composition lightly on the prepared canvas, focusing on the proportions and placement of the figure.
Tip — Ensure the drawing is light enough to be covered by subsequent layers.
Underdrawing
underpainting
step 02
Apply a monochrome underpainting (grisaille) using black, ultramarine, and white to establish values and forms.
Tip — Focus on light and shadow, ignoring color for now. This method was used by Sir Joshua Reynolds (Source 8).
Grisaille
first pass
step 03
Once the grisaille is dry, begin applying color using glazing and scumbling techniques. Glaze transparent colors over the underpainting to build depth.
Tip — Glazing involves applying a transparent coat of color. Scumbling involves semi-opaque painting where the underlying layer shows through (Source 8).
Glazing
refining
step 04
Refine the details, paying attention to color contrasts. Use the law of simultaneous contrast to adjust colors based on their surroundings.
Tip — Colors appear different when placed next to their complements. Adjust tones to harmonize the composition (Source 7).
Simultaneous Contrast
finishing
step 05
Add final highlights and details. Ensure that the paint layers are applied 'fat over lean' to prevent cracking.
Tip — Apply thicker, oilier layers over thinner, leaner layers. This technique was pioneered by Jan van Eyck and is crucial for oil painting durability (Source 5).
Fat over Lean
varnishing
step 06
Allow the painting to dry completely before applying a varnish to protect the surface and enhance color depth.
Tip — Varnish can be mixed with oil for glazing, but final varnishing should be done after the paint is fully cured (Source 8).
Varnishing
critical techniques
Glazing and Scumbling
Glazing involves applying transparent coats of color, while scumbling uses semi-opaque paint to allow the underlayer to show through. These techniques were used by old masters and are effective for building color depth and texture (Source 8).
Fat over Lean
Applying increasingly thick layers of paint over thinner ones. This principle ensures the structural integrity of the painting and prevents cracking (Source 5).
Simultaneous Contrast
Adjusting colors based on their interaction with adjacent colors. This helps in harmonizing the composition and accurately perceiving light modifications (Source 7).
Monochrome Underpainting
Using a grisaille to establish values before applying color. This method allows for greater control over light and shadow and was used by artists like Sir Joshua Reynolds (Source 8).
common pitfalls
- →Applying lean layers over fat layers, which can lead to cracking (Source 5).
- →Ignoring the drying time of different oils; linseed oil dries faster than safflower or poppyseed oil, which can cause issues if mixed incorrectly (Source 1).
- →Overworking the paint before it dries, which can muddy the colors and destroy the glazing effects (Source 8).
- →Failing to account for simultaneous contrast, leading to inaccurate color perception and disharmonious compositions (Source 7).
- →Using lead pigments without proper safety precautions, as they are toxic and restricted in many regions (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 visual details of Anthony Padgett's 'Self Portrait of Vincent Van Gogh Paris 1887' are not described in the sources, so the guide relies on general Post-Impressionist and oil painting techniques.
- ·The exact palette used by Padgett for this specific work is unknown; the guide suggests historically appropriate pigments.
- ·Padgett's specific underdrawing or preparatory methods are not documented in the provided sources.
- ·The symbolic elements specific to this painting are not detailed, so the guide focuses on general symbolic painting principles.
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 Glazing, scumbling, and grisaille underpainting
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of medium and symbolic expression
Laws of Contrast of Colour↗
- 315-318 — applied to Color contrast and perception
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- part 4 — applied to Materials, drying oils, and pigment history
Wikipedia: Composition (visual arts)↗
- part 1 — applied to Compositional elements and structure
Wikipedia: Portrait painting↗
- part 8 — applied to Oil painting techniques and canvas support
Read more about the corpus on the sources page and how the guides are built on the methods page.
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