plate no. 3338
66. The Church at Longton 2017 by Anthony D. Padgett (after Van Gogh Auvers Sur Oise 1890)
Anthony Padgett, 2017
recreation guide
This artwork, 'The Church at Longton 2017' by Anthony D. Padgett, is a Post-Impressionist symbolic painting executed in oil. It serves as a homage to Vincent van Gogh’s 'Auvers Sur Oise' (1890), adapting the subject matter to a contemporary or personal location while retaining the stylistic hallmarks of the Post-Impressionist movement. The work likely emphasizes expressive brushwork, vibrant color contrasts, and a focus on the emotional resonance of the landscape rather than strict photorealism. As a symbolic painting, it may imbue the church structure with metaphorical weight, consistent with the genre's tendency to layer meaning onto visual forms.
estimated time
20-30 hours over 5-7 sessions
materials
6 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (tube) | Primary medium for color application | — |
| Linseed oil | General purpose drying oil for mixing paint and glazing | — |
| Safflower or Poppyseed oil | Mixing lighter colors like white to prevent yellowing | — |
| Canvas or Linen support | Surface for painting; linen is historically linked to flax, the source of linseed oil | — |
| Palette knives and brushes | Application of paint, particularly for impasto or textured effects common in Post-Impressionism | — |
| Siccatives (optional) | To accelerate drying time if working in layers | — |
preparation
surface prep
Prepare a linen or canvas support. Historically, linen is a common support for oil painting, derived from the same flax plant as linseed oil (Source 1). Prime the surface with a traditional oil ground or acrylic gesso to ensure proper adhesion of the oil layers. Given the Post-Impressionist style, a slightly textured surface may be beneficial for holding impasto brushstrokes.
underdrawing
While specific preparatory methods for Anthony Padgett are not detailed in the sources, Post-Impressionist artists often used loose, expressive underdrawings or directly applied paint. If an underdrawing is used, it should be light and non-intrusive, allowing the final color layers to dominate. Avoid rigid, precise lines that would contradict the expressive nature of the style.
underpainting
Consider using a grisaille (monochrome underpainting) technique. This involves painting the composition in neutral tones (black, white, and perhaps ultramarine) to establish values and forms before applying color glazes (Source 5). This method, practiced by old masters, allows for greater control over light and shadow. Alternatively, a direct alla prima approach may be used, consistent with Impressionist and Post-Impressionist practices, where paint is applied wet-on-wet.
color palette
White
Titanium White or Zinc White mixed with safflower or poppyseed oil
Highlights and light areas; these oils yellow less than linseed oil (Source 1)
Blues and Greens
Ultramarine, Cerulean, Viridian, Phthalo Green
Sky, foliage, and shadows; consistent with Van Gogh’s palette in Auvers
Yellows and Oranges
Cadmium Yellow, Yellow Ochre, Cadmium Orange
Sunlight, wheat fields, and architectural highlights; Van Gogh’s Auvers features vibrant yellows
Reds and Purples
Alizarin Crimson, Cadmium Red, Dioxazine Purple
Contrasting accents and shadows; used to create simultaneous contrast (Source 7)
composition
Apply principles of visual composition to organize the artwork. Ensure there is a clear center of interest, likely the church itself, to prevent the image from becoming a mere pattern (Source 4). Position the horizon line to emphasize either the sky or the ground, avoiding an exact bisection of the picture space (Source 4). Use leading lines, such as paths or architectural elements, to guide the viewer’s eye around the composition before leading it out of the picture (Source 4). Balance the prominent subject with smaller satellite elements to avoid a static, centered composition (Source 4).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Lightly sketch the main forms of the church and landscape on the primed canvas using charcoal or thinned oil paint.
Tip — Keep lines loose and expressive; avoid rigid precision.
Underdrawing
underpainting
step 02
Apply a grisaille underpainting using black, white, and ultramarine to establish values and forms. Allow to dry completely.
Tip — Focus on light and shadow rather than color at this stage.
Grisaille
first pass
step 03
Begin applying color glazes over the dry underpainting. Use transparent layers of oil paint to build up color intensity.
Tip — Glazing involves applying a transparent coat of color; scumbling involves semi-opaque painting (Source 5).
Glazing
refining
step 04
Add impasto brushstrokes to key areas, such as the sky and foliage, to create texture and movement. Use thicker paint for highlights.
Tip — Vary brushstroke direction and length to enhance the expressive quality.
Impasto
finishing
step 05
Adjust color contrasts and values. Ensure that small, high-contrast elements have sufficient impact to balance larger, duller areas (Source 4).
Tip — Use the law of simultaneous contrast to enhance color vibrancy (Source 7).
Color Contrast
varnishing
step 06
Once the painting is completely dry, apply a protective varnish to unify the surface and enhance color depth.
Tip — Ensure the painting is fully cured to avoid trapping solvents.
Varnishing
critical techniques
Glazing and Scumbling
Glazing involves applying transparent coats of color over a dry underpainting, while scumbling uses semi-opaque paint to allow the underlying layer to show through. This method was practiced by old masters and can be used to achieve complex color interactions (Source 5).
Color Contrast
Utilize the law of simultaneous contrast, where juxtaposing colors enhances their perceived intensity. This principle helps in harmonizing colors inherent to the subject and those chosen by the artist (Source 7).
Compositional Balance
Avoid exact bisections and center the subject off-center to create dynamic balance. Use leading lines to guide the viewer’s eye through the composition (Source 4).
common pitfalls
- →Using linseed oil for white pigments, which can lead to yellowing over time; use safflower or poppyseed oil for lighter colors (Source 1).
- →Creating a static composition by centering the subject or bisecting the horizon line; ensure dynamic balance and off-center placement (Source 4).
- →Ignoring the drying time of oil paints, which can lead to cracking or poor adhesion between layers; allow sufficient drying time between glazes (Source 1).
- →Overworking the paint, which can muddy colors and lose the expressive quality of the brushstrokes; maintain confidence in initial applications.
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 details of Anthony Padgett’s personal technique or palette preferences are not provided in the sources.
- ·The exact symbolic meanings intended in 'The Church at Longton' are not detailed, requiring interpretation based on general Post-Impressionist and symbolic painting conventions.
- ·No specific information on the artist’s use of siccatives or other modern additives is available.
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 Grisaille underpainting, glazing, and scumbling techniques
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color contrast and harmony principles
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 pigment properties
Wikipedia: Composition (visual arts)↗
- part 6 — applied to Compositional principles, center of interest, and horizon line placement
Read more about the corpus on the sources page and how the guides are built on the methods page.
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