Auguste Pellerin (I)

surface prep

The canvas should be primed to accept oil paint. While specific ground preparation for this exact painting is not detailed, traditional oil painting practices of the period involved preparing a stable surface to ensure the paint film remains strong and does not crack or peel (Source 7). Matisse’s work from this period suggests a move toward smoother, more controlled surfaces compared to the rougher textures of his earlier Fauvist works, implying a well-prepared, possibly gessoed, canvas.

underdrawing

Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint (Source 7). Matisse’s later work showed a 'bolder simplification' (Source 5), suggesting that the underdrawing would likely focus on broad, simplified forms rather than intricate detail. The artist would likely establish the basic proportions and pose of Auguste Pellerin before applying color.

underpainting

An underpainting layer may be applied to establish tonal values. This layer should be 'lean' (mixed with more solvent than oil) to adhere to the 'fat over lean' rule, ensuring that subsequent layers with more oil content dry properly without cracking (Source 7). This initial layer helps in blocking in the general masses of color and form.

Non-naturalistic color

Matisse used expressive, non-naturalistic colors to convey emotion and psychological depth, particularly in skin tones (Source 2).

Fat over lean

Each successive layer of paint should contain more oil than the layer below to ensure proper drying and prevent cracking (Source 7).

Simultaneous contrast

Understanding that adjacent colors influence each other’s appearance, allowing for more harmonious and vibrant compositions (Source 6).

Simplification of form

Matisse’s later work, including this period, shows a move toward bolder simplification and relaxation of form (Source 5).