plate no. 2306
Blue roofs of Rouen
Paul Gauguin, 1884
recreation guide
This artwork, 'Blue roofs of Rouen' (1884), represents a pivotal moment in Paul Gauguin’s career, created during his brief residence in Rouen after leaving his stockbroker profession to pursue art full-time (Source 6). While the metadata classifies the style as Impressionism, this period marks Gauguin’s transition away from the strict optical realism of his mentor Camille Pissarro toward a more subjective approach. The work likely reflects the influence of color theory principles, particularly the laws of simultaneous contrast, which Gauguin studied to understand how colors modify one another when placed side-by-side (Source 1). The painting is executed in oil on canvas, a medium chosen for its flexibility and capacity for rich, dense color and layering (Source 7). At this stage, Gauguin was still experimenting with the 'vitality' of the medium, avoiding the 'meretricious attempt to deceive the eye' in favor of expressing feeling through painted symbols (Source 5). Although he would later develop Cloisonnism with bold outlines and flat areas of color (Source 3), this 1884 work likely retains more of the tonal gradations and atmospheric effects characteristic of his Impressionist phase, before he fully eliminated subtle color gradations in his later Synthetist works.
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, Cobalt Blue, Yellow Ochre, White Lead/Titanium White) | Primary pigments for creating the blue-dominated palette and earth tones. | Titanium White is the modern standard for white; historically White Lead was used. |
| Linseed oil | Binder for the pigments, providing flexibility and rich color density. | Stand oil or refined linseed oil. |
| Turpentine or Odorless Mineral Spirits | Thinner for initial layers and cleaning brushes. | Odorless Mineral Spirits (OMS) for safety. |
| Canvas (primed) | Support for the oil paint. | Pre-primed linen or cotton canvas. |
| Natural earth pigments (Ochres, Umbers) | For 'broken tones' and inherent colors of the architecture, as suggested by historical palette practices. | Burnt Sienna, Raw Umber. |
preparation
surface prep
The canvas should be primed with a traditional ground, likely containing chalk or gypsum, consistent with 19th-century practices. While specific priming details for this exact canvas are not in the sources, oil painting of this era typically involved a white or off-white ground to allow for the full range of light to dark values (Source 7).
underdrawing
Gauguin’s early work under Pissarro’s influence likely involved a loose underdrawing or direct painting (alla prima) rather than rigid preliminary sketches. Sources note that in his later Cloisonnist phase, he used bold outlines, but in 1884, he was still within the Impressionist tradition where the 'vitality of the medium' was prioritized over precise linear definition (Source 5). It is likely he sketched lightly in charcoal or thinned paint to establish the rooflines and perspective.
underpainting
An underpainting (imprimatura) in a neutral tone or a thin wash of the dominant color (blue) may have been used to establish the overall mood and value structure. This aligns with the Impressionist practice of capturing the 'modifications of the light on the model' promptly (Source 1).
color palette
Ultramarine Blue / Cobalt Blue
Pure blue pigments, possibly mixed with white for highlights.
The dominant 'blue roofs' and sky, reflecting the title and the atmospheric conditions of Rouen.
Yellow Ochre
Natural earth pigment.
Earth tones, shadows, and complementary contrast to the blue, as earths are 'quite sufficient for broken tones' (Source 4).
White Lead (or Titanium White)
White pigment.
Highlights on the roofs and clouds, essential for the 'gradation of light' (Source 2).
Burnt Sienna / Umber
Burnt earth pigments.
Shadows and architectural details, providing depth and contrast.
composition
The composition likely features a cityscape view with prominent roofs, consistent with Gauguin’s urban subjects in Rouen (Source 6). While specific compositional details are not described in the sources, the artist’s general practice at this time involved arranging elements to capture the 'modifications of tone and colour which they receive from contiguous colours' (Source 1). The perspective is likely traditional, as Gauguin did not fully abandon classical perspective until his later Cloisonnist period (Source 3).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Lightly sketch the main architectural forms, focusing on the rooflines and the horizon line. Do not overwork the lines; keep them loose to allow for the 'vitality' of the paint.
Tip — Ensure the perspective is accurate enough to support the color contrasts, but avoid rigid definition.
Direct drawing
underpainting
step 02
Apply a thin wash of blue or neutral gray to establish the overall tonal structure. This helps in perceiving the 'modifications of the light' early on.
Tip — Keep the layer thin to allow underlying layers to show through, creating depth.
Imprimatura
first pass
step 03
Block in the major color areas, focusing on the blue roofs and the sky. Use pure colors where possible, relying on the 'law of simultaneous contrast' to enhance the vibrancy.
Tip — Place complementary colors (e.g., orange/brown shadows next to blue roofs) to heighten the visual impact, as per color theory principles.
Alla prima blocking
refining
step 04
Refine the edges and add details to the architecture. Use 'broken tones' with earth pigments to add texture and realism without losing the atmospheric effect.
Tip — Avoid over-blending; keep the brushwork visible to maintain the 'painted symbols' quality.
Broken color
finishing
step 05
Adjust the highlights and shadows to ensure the 'gradation of light' is effective. Check the balance between the inherent colors of the objects and the atmospheric effects.
Tip — Step back frequently to assess the overall harmony and contrast.
Glazing or scumbling
critical techniques
Simultaneous Contrast
Using complementary colors side-by-side to enhance their intensity, as described in the laws of color contrast. This is crucial for making the blue roofs appear vibrant against the sky and shadows.
Broken Color
Applying small dabs of pure color that blend optically rather than physically, creating a sense of light and atmosphere. This is consistent with Impressionist practice and the use of earths for 'broken tones'.
Chiaroscuro
Creating a gradation of light and dark to give depth to the flat tints of the roofs and sky. This involves insensibly enfeebling the highest tone and heightening the lowest tone at the line of juxtaposition.
common pitfalls
- →Over-mixing colors on the palette, which can dull the vibrancy and defeat the purpose of simultaneous contrast.
- →Ignoring the 'modifications of tone' caused by adjacent colors, leading to a flat or muddy appearance.
- →Over-working the details, which can obscure the 'vitality' of the medium and the atmospheric effect.
- →Using too much black for shadows, which can make the painting look heavy and unnatural. Instead, use complementary colors for shadows.
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 (e.g., exact number of roofs, presence of figures, specific architectural features) are not described in the sources.
- ·The exact pigment mixtures used by Gauguin for this specific painting are not recorded in the provided sources.
- ·The specific brushwork style (e.g., impasto vs. glaze) for this particular work is not detailed, though general oil painting techniques are discussed.
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 perception of light modifications.
- 6 — applied to Chiaroscuro and gradation of light.
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Use of earth pigments and broken tones.
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of using oil paint for expression rather than deception.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Paul Gauguin — part 6↗
- Part 6 — applied to Context of Gauguin's move to Rouen and his artistic development.
Wikipedia: Oil painting↗
- Part 1 — applied to General oil painting techniques and materials.
Read more about the corpus on the sources page and how the guides are built on the methods page.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
related guides
in this vein
