plate no. 7651

At La Bastille (Portrait of Jeanne Wenz)

oil, canvasPost-Impressionismportraitfigureportraittableglassinteriorclothing

what to study here

It shows how a precisely modeled face against loose, unblended mid-tone brushwork can hold a portrait together using value structure alone.

The useful lesson here is how the head is set against everything else. The face and white apron are the lightest values and form a bright V down the center, while hair and jacket are the darkest masses and frame them. The background stays in the middle: greenish-brown on the left shifting to warm ochre-tan on the right, painted in loose, visible, directional strokes. Compare how the face gets more careful modeling, with warm mid-tones and cool shadows, while features stay bold and simplified. Then look at how the background is left unblended, so the contrast between a controlled head and a loose surround creates depth. Squint and the picture reads as a luminous head-and-apron mass in a darker, textured field, with no true black outside the jacket and hair. Light comes from the front-left, giving cool highlights on face and neck. The small glass at the table edge is handled with minimal, subtle reflections. Practice this by blocking values first, then deciding where to spend precision.

key decision

The painter kept the background in loose, visible, directional strokes of mid-tone ochre and green while modeling the face more carefully. This contrast pushes the bright head and apron forward.

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.

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

A young woman sits at a round table, gazing toward the viewer, her face brightly lit and anchoring the composition against a mottled, darker background. The light comes from the front-left, creating cool highlights on her pale face and neck while her black jacket absorbs shadow. Behind her, the background shifts from greenish-brown on the left to warm ochre-tan on the right, with loose, visible brushstrokes that suggest depth and atmosphere. A small glass sits on the table edge in her right hand, catching subtle light reflections. The eye moves first to her direct, engaging gaze, then to the white apron as a secondary light anchor.

value structure

The darkest values cluster in her hair, jacket, and background shadows, creating a bold frame around the figure. The lightest values concentrate in her face, the white apron, and the glass, forming a bright V-shape down the center. Mid-tones dominate the background—muted ochres and greens that sit between the extremes. When you squint, the composition reads as a luminous head-and-apron mass set into a darker, textured surround with no true black except in the jacket and hair.

observed palette and mixes

#1a1315
Ivory black + burnt umber
Hair, jacket shadows, deepest background
#372d21
Burnt umber + ivory black (more umber)
Dark jacket folds, background left-side shadows
#534429
Burnt umber + ivory black (balanced)
Mid-shadow jacket areas, table edge definition
#736936
Yellow ochre + burnt sienna + touch of white
Table surface, mid-tone background transitions
#978948
Yellow ochre + raw sienna + white (warmer version)
Background right side, warm mid-tones in background mottling
#bdc6ad
Titanium white + yellow ochre + whisper of ultramarine
Face highlights, white apron, glass reflections, neck light

edges and brushwork

This painting thrives on visible, gestural brushwork—never blend the background smooth. The background strokes are loose and directional, built up with distinct marks that suggest form without describing it. The face gets more careful modeling but never photographic; features are stated boldly. Clothing strokes follow the form, layering darks over lighter underpainting. The contrast between the precise face and the looser background creates depth and energy.

a working sequence

01
Composition and Mass Layout
Lightly sketch the head shape, shoulders, and seated torso. Mark the table as a simple ellipse below, and indicate where the glass sits on the table edge. Locate the background vertically—the shift from greenish-left to ochre-right happens roughly at her shoulder line. Don't overwork—this is just positioning.
02
Block in Major Values
Lay down the large value masses with dilute paint: dark jacket and hair as one shape, white apron and face as the bright center, mottled mid-tone background in sweeping strokes. Use raw pigment loosely so you can adjust. Establish that the face is the lightest, the jacket the darkest, and the background splits between cool-dark-left and warm-mid-right.
03
Develop the Face and Features
Build the face shape with warmer mid-tones on the cheeks and nose, cool shadows around the eyes and jawline. Keep features bold and simplified—strong brow line, direct eye contact, defined lips. The face needs more precision than other areas, but avoid overworking; Toulouse-Lautrec kept faces fresh and loose. Model the neck and transition to the white apron.
04
Refine the Clothing and Body
Layer the jacket with darker accents in the folds and shadows, respecting the arm structure beneath. The white apron needs subtle modeling—it's not flat white; use pale ochre and cool grays to suggest the fabric's fold and weight. Paint the yellow-cream bow accent at the neckline with directional strokes. Keep the shoulder line confident and gestural.
05
Build the Background Texture
Return to the background with looser, directional brushstrokes. Layer ochre, yellow-green, and burnt sienna in the left-to-right transition; the greenish cast comes from ochre yellowed by the canvas and cooled by subtle blues or greens. Don't smooth—let marks overlap and suggest depth. The background should feel atmospheric, not portrait studio backdrop.
06
Paint the Glass and Table
Establish the glass as a simple transparent form with a highlight on the near edge and a shadow on the far side. The table edge line is warm-reddish, grounding the composition. Use minimal detail—suggest the glass is holding liquid with a subtle tone inside, but don't overexplain its transparency.
07
Unify Values and Edges
Step back and check value relationships. The face should sing against the background, the white apron should feel part of the figure, not isolated. Soften edges where they need breathing room (around the face), and keep hard edges where structure matters (jacket outline, table edge). Make sure the background and figure feel they share the same light.
08
Final Touches and Color Adjustments
Add final details—deepen the eye contact, add any last cloth texture or folds. Check that the mottled background reads—if it looks too uniform, add one or two more directional strokes. The painting is done when the figure feels present and the background supports without competing.

where studies of this painting go wrong

Over-blending the background until it becomes smooth and flat—keep brushwork visible and gestural to maintain depth and energy.
Making the face too photorealistic or over-rendered; Toulouse-Lautrec simplifies features boldly. Strong line work and direct color are enough.
Treating the white apron as a flat, bright shape without modeling. It must have gentle shadow and ochre tones to read as fabric sitting on the figure.
Losing the glass—it's easy to paint it too harshly or let it disappear. It should feel like it's resting on the table edge with subtle light inside and a soft reflection, not a technical diagram.
The background greenish cast is not pure green but ochre + subtle cool tones. If it reads too gray or too cold, warm it with a touch of sienna or burnt umber.

measured difficulty