plate no. 6597
A Glimpse of Notre-Dame in the Late Afternoon
Henri Matisse, 1902
recreation guide
Henri Matisse’s *A Glimpse of Notre-Dame in the Late Afternoon* (1902) is a seminal work of the Fauvist movement, characterized by the 'intense colourism' that defined his output between 1900 and 1905 (Source 4). During this period, Matisse moved away from traditional academic realism toward a style that emphasized the expressive language of color over literal representation. The painting likely employs bold, non-naturalistic hues to capture the atmospheric effects of late afternoon light on the Parisian cityscape, rather than mimicking the exact local colors of the stone and sky. The work reflects Matisse’s mastery of color harmony and his understanding of simultaneous contrast, where colors are chosen not for their inherent accuracy but for their interaction with adjacent tones (Source 2). While specific visual details of the Notre-Dame facade are not described in the provided sources, the painting is consistent with Matisse’s early exploration of flattened forms and decorative pattern, which would later become more rigorous after 1906 (Source 4). The piece serves as a topographical view, yet it prioritizes the emotional and optical impact of color over strict topographical accuracy (Source 5).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (primary colors: Ultramarine, Cadmium Yellow, Cadmium Red, plus White and Black) | To create the intense, pure hues characteristic of Fauvism and to allow for glazing and scumbling techniques. | — |
| Linseed oil or Odorless Mineral Spirits | Medium for thinning paints for underpainting and glazing layers. | — |
| Canvas or heavy cotton duck | Support for the oil painting. | — |
| Bristle brushes (flat and filbert) | For applying opaque layers and scumbling. | — |
| Soft bristle brushes (hog or sable) | For glazing transparent layers. | — |
preparation
surface prep
Prepare a standard oil-primed canvas. While Matisse’s specific ground preparation for this 1902 work is not detailed in the sources, traditional oil painting practice often involves a neutral or white ground to allow for the full intensity of the bright Fauvist colors. A white ground is recommended to support the high-key lighting effects typical of late afternoon scenes.
underdrawing
Matisse was known for his 'fluid and original draughtsmanship' (Source 4). Begin with a loose, confident charcoal or thinned oil sketch to establish the major architectural lines of Notre-Dame and the horizon. Avoid rigid, detailed outlining; instead, focus on the overall composition and the placement of light and shadow masses. The drawing should serve as a guide for color placement rather than a strict boundary.
underpainting
Create a monochrome underpainting (grisaille) to establish the tonal structure of the scene. This step involves mentally extracting red and yellow colors to translate what would be left in nature if these warm tones were absent (Source 1). Use black, ultramarine, and white to paint the values of the sky, the stone facade, and the shadows. This grisaille layer must be completely dry before proceeding to color glazing (Source 1). This technique helps in organizing the composition’s light and dark areas before introducing the complex color interactions of Fauvism.
color palette
Ultramarine Blue
Pure Ultramarine
General use in Matisse’s palette for skies and shadows; provides a cool contrast to warm tones.
Cadmium Yellow
Pure Cadmium Yellow
Capturing the intense late afternoon sunlight; used in glazing to warm up the grisaille.
Cadmium Red
Pure Cadmium Red
Adding warmth and vibrancy to sunlit areas; used in glazing to enhance the 'intense colourism' (Source 4).
White
Titanium or Zinc White
Highlighting and mixing tints; essential for the high-key lighting of the scene.
Black
Ivory Black
Deepening shadows in the grisaille underpainting and creating contrast.
composition
The composition likely emphasizes the verticality of the Notre-Dame facade against the horizontal expanse of the sky. Consistent with general compositional principles, the horizon line should not divide the artwork into two equal parts; instead, it should be positioned to emphasize either the sky or the ground, likely showing more sky to capture the atmospheric effects of the late afternoon light (Source 8). The prominent subject (Notre-Dame) should be off-center to create a dynamic balance, possibly balanced by smaller satellite elements such as surrounding buildings or sky details (Source 8). Avoid exact bisections of the picture space to maintain visual interest (Source 8).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the main architectural forms of Notre-Dame and the surrounding cityscape using charcoal or thinned oil. Focus on the overall structure and the placement of light and shadow.
Tip — Keep lines fluid and avoid over-defining details; Matisse’s draughtsmanship was known for its fluidity (Source 4).
Loose sketching
underpainting
step 02
Paint a grisaille underpainting using black, ultramarine, and white. Establish the tonal values of the scene, mentally extracting red and yellow colors to focus on the underlying structure (Source 1).
Tip — Ensure this layer is completely dry before proceeding. This step helps in organizing the composition’s light and dark areas.
Grisaille
first pass
step 03
Begin glazing and scumbling with oil. Apply transparent coats of yellow and red tones over the grisaille, much like tinting an engraving with watercolors (Source 1). Use glazing to add warmth to sunlit areas and scumbling to create semi-opaque layers that allow the underlying painting to show through.
Tip — Glazing adds transparency and depth, while scumbling can create a 'grey bloom' or coldness when used over darker grounds (Source 1).
Glazing and Scumbling
refining
step 04
Adjust colors based on the law of simultaneous contrast. Observe how adjacent colors affect each other; for example, a blue area may appear more vibrant next to an orange area. Modify tones to harmonize the composition, ensuring that the colors interact to create the desired optical effect (Source 2).
Tip — Be aware that the eye may perceive colors inaccurately due to mixed contrast; adjust colors to compensate for this effect (Source 2).
Simultaneous Contrast
finishing
step 05
Add final highlights and deep shadows to enhance the contrast and depth. Ensure that the center of interest is clear and that the viewer’s eye is led around the composition before exiting the picture (Source 8).
Tip — Use detailed areas and 'rest' areas to guide the viewer’s gaze. Avoid making all spaces between objects the same size to create visual interest (Source 8).
Final adjustments
critical techniques
Glazing and Scumbling
Used to build up color layers transparently and semi-opaquely over a monochrome underpainting. This technique allows for the rich, luminous quality of color characteristic of Matisse’s early work and the old masters (Source 1).
Simultaneous Contrast
Applied to harmonize colors in the composition by considering how adjacent colors influence each other’s appearance. This ensures that the intense colors of Fauvism work together to create a cohesive visual experience (Source 2).
Intense Colourism
Matisse’s use of bold, non-naturalistic colors to express the emotional and atmospheric qualities of the scene, rather than to mimic reality. This is a hallmark of his Fauvist period (Source 4).
common pitfalls
- →Over-mixing colors on the palette, which can dull the intensity of the hues. Fauvism relies on pure, vibrant colors applied directly to the canvas.
- →Ignoring the law of simultaneous contrast, leading to colors that appear muddy or unharmonious. Always consider how adjacent colors will affect each other (Source 2).
- →Applying glazes before the underpainting is completely dry, which can cause cracking or muddiness (Source 1).
- →Creating a composition with exact bisections or a centered subject, which can make the painting feel static and uninteresting (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 the Notre-Dame facade and the surrounding cityscape are not described in the sources, so the artist must rely on reference images or imagination for the architectural accuracy.
- ·The exact sequence of color application for this specific painting is not detailed; the guide assumes a general Fauvist approach based on Matisse’s known practices.
- ·The specific pigments used by Matisse in 1902 are not listed, so modern equivalents are suggested based on general knowledge of the period.
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 and glazing techniques
Laws of Contrast of Colour↗
- Simultaneous Contrast — applied to Color harmony and adjustment
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Henri Matisse↗
- Part 1 and Part 6 — applied to Artist’s style, period context, and draughtsmanship
Wikipedia: Composition (visual arts)↗
- Part 1 and Part 6 — applied to Compositional principles and layout
Read more about the corpus on the sources page and how the guides are built on the methods page.
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