plate no. 2140
59. Ears of Wheat 2017 by Anthony D. Padgett (after Van Gogh Auvers Sur Oise 1890)
Anthony Padgett, 2017
recreation guide
This artwork, '59. Ears of Wheat 2017' by Anthony D. Padgett, is a Post-Impressionist symbolic painting executed in oil, created as a homage to Vincent van Gogh’s 'Auvers Sur Oise' (1890). The piece relies on the material properties of oil paint, specifically the interaction between pigment and drying oils such as linseed, safflower, walnut, or poppyseed oil, which influence drying time and film strength (Source 1). As a symbolic work in the Post-Impressionist style, it likely employs color not merely for representation but for emotional or structural harmony, adhering to principles where color modifications are perceived through simultaneous contrast rather than isolated observation (Source 2). The composition avoids exact bisections and utilizes a center of interest to guide the viewer’s eye, consistent with general compositional rules for landscape and symbolic art (Source 4).
estimated time
20-30 hours over 5-7 sessions
materials
6 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (pigment + drying oil) | Primary medium for the painting | — |
| Linseed oil | General purpose drying oil for mixing paint; provides strong film but may yellow slightly | — |
| Safflower, walnut, or poppyseed oil | Mixing medium for lighter colors (like whites and yellows in wheat) to reduce yellowing upon drying | — |
| Canvas or linen support | Surface for painting; linen is historically linked to flax, the source of linseed oil | — |
| Siccatives (optional) | To accelerate drying time if needed, though historically lead-based ones are now restricted | Modern non-toxic siccatives |
| Palette knives and brushes | Application of paint; Post-Impressionism often involves visible brushwork | — |
preparation
surface prep
Prepare a linen or canvas support. Historically, linen is derived from the flax plant, the same source as linseed oil, creating a material continuity (Source 1). Prime the surface with a traditional oil ground or acrylic gesso to ensure proper adhesion of the oil paint. Ensure the surface is smooth enough for detailed work but textured enough to hold impasto if desired, consistent with Post-Impressionist techniques.
underdrawing
The sources do not specify Padgett’s preparatory drawing methods. However, in Post-Impressionist practice, underdrawings are often loose or non-existent, with composition established directly in paint. If an underdrawing is used, it should be minimal to allow for the spontaneous application of color and light modifications described in color theory (Source 2).
underpainting
An underpainting (imprimatura) may be applied to establish tonal values. Given the symbolic nature and Post-Impressionist style, a neutral or complementary tone might be used to enhance subsequent color contrasts. The sources note that painters mix paint with mediums on the palette to achieve desired characteristics (Source 1).
color palette
Yellow/Orange (Wheat)
Yellow ochre, cadmium yellow, mixed with safflower or poppyseed oil to prevent yellowing
Depicting the ears of wheat; lighter colors benefit from oils that yellow less (Source 1)
Blue/Green (Sky/Foliage)
Ultramarine, phthalo blue, viridian, mixed with linseed oil
Background and contrast; blue complements orange/yellow, enhancing simultaneous contrast (Source 2)
White/Highlights
Titanium white or zinc white, mixed with safflower or poppyseed oil
Highlights on wheat; these oils yellow less than linseed (Source 1)
Earth Tones (Ground)
Burnt umber, raw sienna, mixed with linseed oil
Ground and shadows; provides tonal contrast to bright wheat (Source 4)
composition
The composition should avoid exact bisections of the picture space and position the horizon line to emphasize either the sky or the ground, rather than dividing the artwork equally (Source 4). The prominent subject (wheat) should be off-center, balanced by smaller satellite elements, to prevent the work from becoming a mere pattern (Source 4). Use detailed areas in the wheat and 'rest' areas in the sky or distant background to guide the viewer’s eye (Source 4). Ensure no spaces between objects are identical to create visual interest (Source 4).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Lightly sketch the main compositional elements, ensuring the horizon is off-center and the wheat stalks are arranged to lead the eye around the canvas.
Tip — Avoid symmetrical placement; use the rule of thirds or golden ratio implicitly.
Compositional planning
underpainting
step 02
Apply a thin wash of neutral tone to establish basic light and shadow values. Mix paint with a medium of choice on the palette to adjust viscosity.
Tip — Ensure the underpainting is dry before proceeding to avoid muddying colors.
Imprimatura
first pass
step 03
Block in the major color areas. Apply blues and greens for the background and yellows/oranges for the wheat. Use linseed oil for darker tones and safflower/poppyseed oil for lighter yellows to minimize yellowing.
Tip — Be aware of simultaneous contrast; adjacent colors will influence each other’s appearance (Source 2).
Color blocking
refining
step 04
Refine the details of the wheat ears. Use short, directional brushstrokes to mimic the texture of wheat. Enhance contrasts by placing complementary colors adjacent to each other (e.g., orange wheat against blue sky).
Tip — Observe how the eye perceives color modifications due to juxtaposition; adjust tones accordingly (Source 2).
Impasto/Brushwork
finishing
step 05
Add final highlights and shadows. Ensure the center of interest is clear and that the viewer’s eye is led through the composition before exiting the frame.
Tip — Check for visual balance; ensure no two spaces between objects are identical (Source 4).
Glazing/Highlighting
varnishing
step 06
Allow the painting to dry completely (weeks to months) before applying a protective varnish. Modern water-miscible oils may dry faster but traditional oils require patience.
Tip — Do not varnish until the paint is fully cured to prevent trapping solvents.
Varnishing
critical techniques
Simultaneous Contrast
Adjusting colors based on their interaction with adjacent hues. For example, placing blue next to orange will make the orange appear more vibrant and the blue deeper. This is crucial for achieving the symbolic intensity of Post-Impressionism.
Oil Medium Selection
Using safflower, walnut, or poppyseed oil for light colors (whites, yellows) to prevent yellowing, and linseed oil for darker colors where strength and drying speed are prioritized.
Compositional Balance
Positioning the horizon off-center and using detailed areas versus rest areas to guide the viewer’s eye, avoiding exact bisections.
common pitfalls
- →Using linseed oil for white or light yellow paints, which can cause significant yellowing over time (Source 1).
- →Ignoring simultaneous contrast, leading to colors that appear dull or inaccurate when placed next to each other (Source 2).
- →Creating a symmetrical or bisected composition, which can make the artwork feel static or pattern-like rather than dynamic (Source 4).
- →Overworking the paint before it dries, especially when using slow-drying oils like safflower, which can lead to a weak paint film (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 brushstroke patterns unique to Anthony D. Padgett are not described in the sources; general Post-Impressionist techniques are inferred.
- ·The exact symbolic meaning of the wheat in this specific 2017 work is not detailed; general symbolic painting conventions are applied.
- ·Padgett’s specific underdrawing or preparatory sketch methods are not documented in the provided sources.
- ·The specific pigments used by Padgett are not listed; standard modern oil pigments are recommended.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Laws of Contrast of Colour↗
- 315-318 — applied to Color theory, simultaneous contrast, and color modification
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, drying oils, and medium mixing
Wikipedia: Composition (visual arts)↗
- part 6 — applied to Compositional rules, horizon placement, and visual flow
Read more about the corpus on the sources page and how the guides are built on the methods page.
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