plate no. 7669
Breton Village
Odilon Redon, 1890
recreation guide
Odilon Redon’s *Breton Village* (1890) represents a pivotal moment in the artist’s career, marking his transition from the monochromatic charcoal and lithography of his early 'noirs' to the use of color in oil and pastel (Source 3, Source 4). While Redon is often associated with dreamlike, abstract visions, this work falls within his landscape genre, likely reflecting the atmospheric and symbolic approach he developed during the 1890s. The painting is characterized by a move away from strict naturalism toward a more lyrical chromatic expression, a shift that would later define his mature style (Source 6). The work likely employs a palette that balances inherent landscape colors with chosen harmonies, consistent with Redon’s interest in the 'endless possibilities of lyrical chromatics' (Source 6).
estimated time
20-30 hours over 5-7 sessions, allowing for drying times between glaze layers
materials
4 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Yellow Ochre, Red Ochre, Vermilion) | Primary pigments for underpainting and glazing | Standard artist-grade oil paints |
| Oil of Copavia (or modern stand oil/linseed oil blend) | Medium for the first and second paintings, as cited in Reynolds’ method which influenced traditional oil practice | Stand oil or a mix of linseed oil and damar varnish |
| Canvas | Support for the oil painting | Linen or cotton canvas, primed |
| Varnish | For mixing with oil in later glazing stages to gain mastery and transparency | Damar or synthetic resin varnish |
preparation
surface prep
Prepare a standard oil-primed canvas. While specific preparation for *Breton Village* is not detailed, traditional oil painting practice of the period involved a stable ground to support multiple layers of glazing and scumbling (Source 1).
underdrawing
Redon’s early work was heavily rooted in drawing (charcoal/lithography), but specific underdrawing techniques for his 1890 oils are not explicitly described in the sources. It is likely that he employed a loose, atmospheric approach rather than rigid linear definition, consistent with his move toward abstraction and 'lyrical chromatics' (Source 6).
underpainting
Employ a grisaille (monochrome) underpainting. According to traditional oil painting practice relevant to this period, one should mentally extract red and yellow colors, translating what would be left in nature if these colors were not present (Source 1). This creates a tonal foundation using black, ultramarine, and white (Source 1).
color palette
Ultramarine
Pure ultramarine blue
Underpainting and cool shadows; part of the traditional 'noir' influence and standard oil palette
White
Lead white or zinc white
Highlights and mixing in the grisaille underpainting
Black
Ivory black or lamp black
Shadows and defining the grisaille structure
Yellow Ochre / Yellow
Yellow ochre or cadmium yellow
Glazing and scumbling to introduce warmth; Redon’s later work is noted for bright colors and lyrical chromatics (Source 6)
Red Ochre / Vermilion
Red ochre or vermilion
Glazing and scumbling to introduce warmth; extracted in the underpainting phase (Source 1)
Grey/Brown
Mix of black, white, and earth tones
General landscape tones; Redon’s decorative panels used yellow, grey, brown, and light blue (Source 3)
composition
Specific compositional details of *Breton Village* are not described in the sources. However, Redon’s landscapes from this period and later (e.g., the Domecy panels) often feature non-specific places, endless horizons, and a focus on atmospheric effects rather than precise topographical accuracy (Source 3). The composition likely relies on the juxtaposition of tones to create chiaroscuro and gradation of light (Source 2).
step by step
underpainting→first pass→drying→refining→finishing
underpainting
step 01
Create a grisaille underpainting using only black, ultramarine, and white. Mentally extract red and yellow tones, painting only what remains in nature without these colors.
Tip — Ensure the tonal values are correct before adding color, as this layer dictates the final light and shadow structure.
Grisaille
first pass
step 03
Apply the first layer of color using oil of copavia (or a similar medium) with black, ultramarine, and white if further tonal adjustment is needed, or begin introducing transparent glazes.
Tip — Use a transparent coat of color, similar to tinting an engraving with watercolors.
Glazing
drying
step 02
Allow the grisaille to dry completely.
Tip — Do not proceed to glazing until the underpainting is quite dry to prevent muddying the layers.
Drying
refining
step 04
Glaze and scumble with yellow and red tones as they occur in the landscape. Use oil initially, and as mastery is gained, mix varnish with oil.
Tip — Scumbling is a semi-opaque painting through which the underlying painting makes itself felt. When employed over a darker ground, it tends to coldness, allowing for a grey bloom.
Glazing and Scumbling
finishing
step 05
Refine the juxtaposition of colors to enhance simultaneous contrast. Place flat tints of different tones beside each other to produce chiaroscuro and a true gradation of light.
Tip — Observe how the highest tone is enfeebled and the lowest tone is heightened at the line of juxtaposition.
Simultaneous Contrast
critical techniques
Glazing
A transparent coat of color applied over a dry underpainting to build depth and luminosity. Essential for Redon’s transition to color and traditional oil mastery.
Scumbling
A semi-opaque application of paint that allows the underlying layer to show through. Used to create atmospheric effects and 'grey blooms' over darker grounds.
Simultaneous Contrast
Juxtaposing colors of different tones to enhance visual impact and create gradation of light. This principle helps harmonize colors inherent to the landscape with those chosen by the artist.
common pitfalls
- →Applying glazes before the underpainting is completely dry, which can ruin the tonal foundation.
- →Over-modeling or being too tied to outlines, which contradicts the atmospheric and lyrical nature of Redon’s style (Source 5, Source 6).
- →Ignoring the law of simultaneous contrast, leading to flat or muddy color interactions instead of vibrant chiaroscuro (Source 2).
- →Using opaque paint exclusively, missing the depth achieved through the traditional method of glazing and scumbling (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 *Breton Village* (e.g., exact layout of houses, trees, or sky) are not described in the sources, so the composition must be inferred from general landscape conventions or other works.
- ·Redon’s specific brushwork or stroke direction for this particular painting is not detailed.
- ·The exact proportions and dimensions of *Breton Village* are not provided.
- ·Whether Redon used a specific ground color (e.g., warm vs. cool) for this canvas is not stated.
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 (grisaille), glazing, and scumbling techniques
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 bio — Odilon Redon↗
- part 2 — applied to Context of Redon’s transition to oil and pastel in the 1890s
- part 4 — applied to Redon’s early career and abandonment of noirs
- part 4 — applied to Redon’s use of bright colors and lyrical chromatics
Read more about the corpus on the sources page and how the guides are built on the methods page.
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