plate no. 4797
At the bar
Carlos Saenz de Tejada, 1924
recreation guide
Carlos Saenz de Tejada’s 'At the bar' (1924) is a genre painting that depicts aspects of everyday life, portraying ordinary people engaged in common activities within a social setting (Source 3). As a work of Cubism, it likely fragments the visual field, yet retains the narrative familiarity characteristic of the genre, which often proved popular with the bourgeoisie due to its sentimental or recognizable subject matter (Source 3). The painting belongs to a tradition where figures are not necessarily specific portraits but rather snapshots of quotidian life, potentially conveying a 'reality effect' rather than strict realism (Source 4).
estimated time
40-60 hours over 8-12 sessions
materials
4 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Yellow Ochre, Red Ochre) | Primary pigments for the grisaille underpainting and subsequent glazing | — |
| Oil of Copavia (or modern stand oil) | Medium for the first and second paintings to ensure transparency and flow | Stand oil or linseed oil |
| Varnish | Mixed with oil for later glazing stages to gain mastery over transparent layers | Dammar varnish or synthetic resin varnish |
| Canvas or Panel | Support for the oil painting | Linen canvas primed with gesso |
preparation
surface prep
Prepare a rigid support. While specific preparation for Saenz de Tejada is not detailed in the sources, the technique described involves a 'grisaille' (monochrome) preparation that must be 'quite dry' before proceeding (Source 2). This implies a stable, non-absorbent ground that allows for subsequent glazing without lifting the underlayer.
underdrawing
The sources do not specify Saenz de Tejada’s underdrawing method. However, given the Cubist style, the drawing likely serves to establish the geometric fragmentation of space. In general practice, copying works to correct weaknesses in outline or modeling is recommended before attempting original compositions (Source 8).
underpainting
Execute a monochrome grisaille underpainting. This step involves 'mentally extracting the red and yellow colours' to establish the tonal structure (Source 2). Use black, ultramarine, and white with oil of copavia to create the initial forms and chiaroscuro (Source 2). This layer establishes the 'true gradation of light' through juxtaposition of tones (Source 1).
color palette
Black
Bone Black or Ivory Black
Grisaille underpainting and shadows
Ultramarine
Ultramarine Blue
Grisaille underpainting to provide cool tonal variations
White
Lead White or Titanium White
Grisaille highlights and mixing tints
Yellow/Red Tones
Yellow Ochre, Red Ochre, Vermilion
Glazing and scumbling layers to introduce color, as these were 'extracted' in the grisaille stage (Source 2)
composition
The composition likely organizes the 'elements of design'—line, shape, color, texture, value, form, and space—to create a cohesive visual order despite the Cubist fragmentation (Source 5). As a genre scene, it may feature figures to whom no specific identity is attached, focusing on the social occasion rather than individual portraiture (Source 4). The arrangement likely balances 'great effects' with smaller details that result spontaneously from contrast principles (Source 1).
step by step
underpainting→first pass→refining→finishing→varnishing
underpainting
step 01
Create a grisaille underpainting using black, ultramarine, and white mixed with oil of copavia. Focus on establishing the tonal values and chiaroscuro without using red or yellow hues.
Tip — Ensure the underpainting is completely dry before proceeding to avoid muddying the subsequent glazes.
Grisaille
first pass
step 02
Apply transparent glazes of yellow and red tones over the dry grisaille. Use oil as a medium initially. This mimics the process of tinting an engraving with watercolors.
Tip — Observe how the underlying dark ground affects the color, potentially creating a 'grey bloom' or coldness if scumbled over darker areas (Source 2).
Glazing
refining
step 03
Introduce semi-opaque scumbling layers where necessary to adjust tones. Scumbling allows the underlying painting to show through, adding texture and complexity.
Tip — Be cautious when scumbling over darker grounds, as it tends to produce coldness (Source 2).
Scumbling
finishing
step 04
Refine the juxtaposition of colors to enhance simultaneous contrast. Ensure that flat tints of different tones produce the desired chiaroscuro effect, where the highest tone is enfeebled and the lowest heightened at the line of juxtaposition.
Tip — Focus on great effects; many small details will result spontaneously from the correct application of contrast laws (Source 1).
Simultaneous Contrast
varnishing
step 05
Once the painting is fully dry, apply a final varnish to protect the work and unify the surface sheen.
Tip — Ensure the painting is completely dry to prevent yellowing or cracking of the varnish layer.
Varnishing
critical techniques
Glazing and Scumbling
Used to build up color layers over a monochrome underpainting. Glazing provides transparent color, while scumbling adds semi-opaque texture. This method was practiced by old masters and allows for rich tonalities (Source 2).
Simultaneous Contrast
Juxtaposing colors and tones to create optical effects. Placing flat tints of different tones next to each other produces chiaroscuro and gradation of light (Source 1).
Grisaille Underpainting
Establishing the tonal structure in monochrome before adding color. This separates the value structure from the color application, allowing for greater control over light and shadow (Source 2).
common pitfalls
- →Applying glazes before the grisaille underpainting is completely dry, which can lead to muddying and loss of clarity (Source 2).
- →Over-modeling or becoming too tied to the outline, which can result in a 'smallness' that detracts from the broad effects (Source 8).
- →Ignoring the laws of simultaneous contrast, leading to flat or unharmonious color relationships (Source 1).
- →Scumbling over darker grounds without anticipating the resulting coldness or grey bloom (Source 2).
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 the composition in 'At the bar' (e.g., exact arrangement of figures, objects on the bar, background elements) are not described in the sources.
- ·Carlos Saenz de Tejada’s specific palette preferences or deviations from the general Cubist or genre painting traditions are not detailed.
- ·The exact medium ratios (oil to pigment) used by the artist are not specified, though general practices are cited.
- ·Preparatory sketches or underdrawing techniques specific to this artist are not covered.
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, glazing, and scumbling techniques
- ON COPYING — applied to Advice on correcting weaknesses in outline and modeling
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color juxtaposition and chiaroscuro effects
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Genre painting↗
- Genre painting — part 1 — applied to Context of the artwork as a genre scene
Wikipedia: Dutch Golden Age painting↗
- Dutch Golden Age painting — part 11 — applied to Understanding the 'reality effect' and non-specific figures in genre scenes
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 1 — applied to General compositional elements
Read more about the corpus on the sources page and how the guides are built on the methods page.
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