plate no. 7651

At La Bastille (Portrait of Jeanne Wenz)

oil, canvasPost-Impressionismportraitfigureportraittableglassinteriorclothing

recreation guide

At La Bastille (Portrait of Jeanne Wenz) is a 1889 oil on canvas by Henri de Toulouse-Lautrec, situated within the Post-Impressionist movement. Lautrec is characterized by his immersion in the theatrical and bohemian life of late 19th-century Paris, often depicting subjects from the 'urban underclass' and nightlife, such as prostitutes and cabaret performers (Source 5, Source 6). While the specific visual details of Jeanne Wenz’s attire or the exact layout of the room are not described in the provided sources, the work belongs to a genre of portrait painting intended to achieve a recognizable likeness of the sitter (Source 3). Lautrec’s approach to such subjects was driven by a moral affinity and admiration rather than mere documentation, viewing his subjects as 'alive' compared to traditional models (Source 6).

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (pigments)	Primary medium for color application	—
Drying oil (Linseed, Poppy, Walnut, or Safflower)	Binder for pigments; choice affects drying time and yellowing	Stand oil or refined linseed oil
Turpentine	Thinner for initial layers and cleaning	Odorless mineral spirits
Canvas	Support surface	Linen or cotton canvas
Varnish (optional, for glazing)	Used in conjunction with oil for transparent layers	Dammar varnish or synthetic resin varnish

preparation

surface prep

The artwork is on canvas, a common support for oil painting since the Renaissance (Source 4). While specific ground preparation for this piece is not detailed in the sources, Lautrec’s era typically involved priming canvas with gesso or oil-based grounds to create a stable surface for the oil binder. The artist likely utilized the flexibility and layering capabilities inherent to oil on canvas (Source 4).

underdrawing

The provided sources do not specify Lautrec’s preparatory drawing methods for this specific portrait. However, as a draughtsman and illustrator (Source 5), he likely employed a sketching phase. General practice suggests that oil paint allows for significant modification, so the underdrawing may have been loose or integrated into the first paint layer.

underpainting

While the sources do not explicitly confirm Lautrec used a monochrome underpainting for this specific work, the technique of 'grisaille' (a monochrome underpainting) followed by glazing and scumbling is a documented historical method for oil painting (Source 2). This method involves establishing values in neutral tones before applying transparent color layers. Given Lautrec’s Post-Impressionist context and the era’s technical knowledge, he may have employed similar layering techniques to achieve depth and color harmony.

color palette

General Palette

Oil pigments mixed with drying oil

General use in this artist's palette. Specific colors for Jeanne Wenz are not described in the sources.

Complementary Contrasts

Pairs of complementary colors (e.g., red/green, blue/orange)

To perceive and imitate modifications of light and color on the model, leveraging simultaneous contrast (Source 1).

composition

The sources do not describe the specific composition of At La Bastille. However, portrait painting generally aims for a recognizable likeness of the sitter (Source 3). Lautrec’s compositions often reflected his affinity for the subjects’ natural poses, avoiding the stiffness of traditional studio models (Source 6). He likely composed the scene to capture the 'alive' quality of the subject, consistent with his observation that his subjects 'stretch out on the sofas like animals' and are not conceited (Source 6).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the likeness of the sitter on the primed canvas. Focus on capturing the recognizable features and natural pose.
Tip — Aim for a likeness that is recognizable to those who have seen the sitter (Source 3).
Portrait sketching

underpainting

step 02
Apply a monochrome layer (grisaille) to establish values and forms. This step extracts color to focus on light and shadow.
Tip — Ensure this layer is completely dry before proceeding to color (Source 2).
Grisaille

first pass

step 03
Begin applying color using glazing and scumbling techniques. Glaze with transparent oil colors to build depth; scumble with semi-opaque colors to modify tones.
Tip — Use oil initially, and potentially varnish mixed with oil for mastery, similar to tinting an engraving (Source 2).
Glazing and Scumbling

refining

step 04
Adjust colors based on simultaneous contrast. Observe how adjacent colors affect each other, ensuring the lightest tones are not lowered and darkest tones are not heightened incorrectly.
Tip — Be aware that the eye may see colors inaccurately due to mixed contrast from previously viewed colors (Source 1).
Simultaneous Contrast

finishing

step 05
Finalize the likeness and atmospheric effects. Ensure the painting retains the vitality of the medium rather than just deceiving the eye with illusion.
Tip — Remember that art is an expression of feeling through painted symbols, not just a substitute for nature (Source 7).
Oil Painting Finish

critical techniques

Simultaneous Contrast

Used to perceive and imitate the modifications of light and color on the model. The painter must account for how contiguous colors alter the appearance of each other (Source 1).

Glazing and Scumbling

Glazing applies transparent coats of color; scumbling applies semi-opaque layers. This method allows for rich color depth and is a traditional technique used by old masters and potentially Lautrec (Source 2).

Portrait Likeness

The intent is to create a recognizable record of the sitter’s appearance, a skill that took centuries to refine (Source 3).

common pitfalls

→Failing to account for simultaneous contrast, leading to inaccurate color perception where colors appear altered by their neighbors (Source 1).
→Applying color layers before the underpainting is completely dry, which can cause mixing issues or cracking (Source 2).
→Over-pursuing illusionistic deception at the expense of the medium's vitality and expressive quality (Source 7).
→Ignoring the 'mixed contrast' effect, where the eye retains an image of a previously viewed color, distorting the current view (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 the painting (Jeanne Wenz's clothing, facial expression, background objects) are not described in the sources.
·Lautrec's specific palette choices for this 1889 work are not listed.
·Whether Lautrec used a grisaille underpainting for this specific piece is inferred from general technique, not confirmed by source.
·The exact dimensions and canvas preparation method for this specific artwork are not provided.

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 avoiding visual fatigue inaccuracy.
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Grisaille underpainting, glazing, and scumbling techniques.
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of medium vitality vs. illusion.

cross-referenced from

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

Wikipedia: Portrait painting↗
- Portrait painting — part 1 — applied to Intent of likeness and genre definition.
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to Materials, binders, and general advantages of oil medium.
Wikipedia bio — Henri de Toulouse-Lautrec↗
- part 1 & part 3 — applied to Artist context, subject matter affinity, and Post-Impressionist classification.