plate no. 6347

57. Wheat Fields 2017 by Anthony D. Padgett (after Van Gogh Auvers Sur Oise 1890)

Anthony Padgett, 2017

oilPost-Impressionismsymbolic paintingwheat fieldskylandscapehorizonvegetation

recreation guide

This artwork, '57. Wheat Fields 2017' by Anthony D. Padgett, is a symbolic painting executed in oil, created after Vincent van Gogh’s 'Auvers Sur Oise' (1890). As a Post-Impressionist work, it likely engages with the expressive use of color and texture characteristic of the movement, though specific visual details of Padgett’s interpretation are not described in the provided sources. The recreation focuses on the technical execution of oil painting, utilizing standard materials such as linseed oil and pigments, while adhering to principles of composition and color contrast that enhance the symbolic impact of the landscape.

estimated time

15-25 hours over 4-6 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (various pigments)	Primary medium for creating the image	—
Linseed oil	Drying oil binder for pigments; general purpose medium	—
Safflower, walnut, or poppyseed oil	Alternative drying oils for lighter colors like white to reduce yellowing	—
Canvas or linen support	Surface for painting; linen is historically common for oil painting	—
Palette knives and brushes	Application tools for manipulating paint texture and form	—
Siccatives (optional)	To accelerate drying time if needed	—

preparation

surface prep

Prepare a linen or canvas support, as linen is a traditional support for oil painting derived from the flax plant (Source 1). Prime the surface with a ground suitable for oil painting to ensure proper adhesion and prevent oil from rotting the canvas fibers. While specific priming methods for Padgett are not detailed, standard oil painting practice involves a gesso or oil-based ground.

underdrawing

The sources do not specify Anthony Padgett’s underdrawing technique. However, copying exercises are recommended for developing craft, suggesting that a preliminary sketch or underdrawing may be used to establish composition before applying paint (Source 8). For a Post-Impressionist style, the underdrawing might be loose or omitted in favor of direct painting, but a light sketch helps in positioning elements according to compositional principles.

underpainting

An underpainting layer may be applied to establish tonal values and color relationships before adding final details. This aligns with the practice of building up layers in oil painting, allowing for adjustments in tone and color contrast (Source 2, Source 3). The underpainting can help in achieving the 'gradation of light' and 'simultaneous contrast' effects described in color theory.

color palette

White

Titanium white or Zinc white (modern equivalents of historical lead white)

Highlights and lighter tones; historically, lead white was dominant but is now restricted due to toxicity (Source 1)

Yellows (Wheat)

Yellow ochre, cadmium yellow, or lead-tin yellow (historical)

Depicting the wheat fields; lead-tin yellow was used by Dutch Golden Age painters (Source 1)

Blues and Greens (Sky/Foliage)

Ultramarine, phthalo blue, viridian

Sky and foliage; these colors interact with yellows to create simultaneous contrast (Source 3)

Earth tones

Burnt sienna, umber

Ground and shadows; providing depth and contrast

composition

The composition should avoid exact bisections of the picture space and position the horizon line to emphasize either the sky or the ground, consistent with general composition principles (Source 5). The prominent subject (wheat fields) should be off-center to create balance, possibly with smaller satellite elements. The arrangement should guide the viewer’s eye around the elements before leading out of the picture, preventing the work from becoming a mere pattern (Source 5). Specific visual details of Padgett’s composition are not provided, so these general principles are applied.

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the basic composition on the primed canvas, ensuring the horizon line is off-center and the main subject is balanced.
Tip — Avoid exact bisections and ensure the subject does not face out of the image (Source 5).
Compositional planning

underpainting

step 02
Apply a thin layer of paint to establish tonal values and color relationships, focusing on the gradation of light and shadow.
Tip — Use the law of simultaneous contrast to perceive how adjacent colors affect each other (Source 3).
Tonality establishment

first pass

step 03
Block in the main colors of the wheat fields and sky, using broader strokes to capture the general forms.
Tip — Mix paints with linseed oil for general use, or safflower/walnut oil for lighter colors to reduce yellowing (Source 1).
Blocking in

refining

step 04
Add details and refine the texture of the wheat fields, using varied brushwork to create tactile illusions.
Tip — Create contrast between detailed areas and 'rest' areas to guide the viewer’s eye (Source 5).
Texture application

finishing

step 05
Adjust color contrasts and highlights, ensuring that the simultaneous contrast of colors enhances the visual impact.
Tip — Be aware that the eye may see colors inaccurately due to mixed contrast; step back to assess the overall effect (Source 3).
Color contrast adjustment

varnishing

step 06
Allow the painting to dry completely before applying a varnish to protect the surface and unify the gloss.
Tip — Ensure the paint is fully dry to prevent trapping solvents, which can cause cracking.
Varnishing

critical techniques

Simultaneous Contrast

Used to harmonize colors and enhance visual impact by placing complementary colors adjacent to each other, causing each to appear more intense (Source 3).

Oil Mixing

Mixing pigments with appropriate drying oils (linseed for general use, safflower/walnut for whites) to control drying time and prevent yellowing (Source 1).

Compositional Balance

Arranging elements to avoid bisections and create a center of interest, guiding the viewer’s eye through the painting (Source 5).

common pitfalls

→Using linseed oil for white pigments, which can lead to yellowing over time (Source 1).
→Placing the horizon line in the exact center of the composition, which can create a static and unbalanced image (Source 5).
→Ignoring the effects of simultaneous contrast, leading to muddy or less vibrant color interactions (Source 3).
→Over-modeling details, which can detract from the overall impact and create a 'smallness' in the work (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 visual details of Anthony Padgett’s '57. Wheat Fields 2017' are not described in the sources, so the recreation relies on general Post-Impressionist techniques and compositional principles.
·The exact palette and brushwork style of Padgett are not detailed, requiring inference from the broader style of Post-Impressionism and Van Gogh’s influence.
·Specific underdrawing or underpainting methods used by Padgett are not documented in the provided sources.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color theory and simultaneous contrast application
- 315. As to the advantages the painter will find in it... — applied to Perceiving and imitating color modifications and contrast
The Practice of Oil Painting↗
- ON COPYING — applied to General advice on copying and developing craft

cross-referenced from

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

Wikipedia: Oil painting↗
- part 4 — applied to Materials selection, oil mixing, and pigment properties
Wikipedia: Composition (visual arts)↗
- part 1 — applied to General composition elements and design principles
- part 6 — applied to Specific compositional techniques like horizon placement and balance