plate no. 2050

By the Window

Edvard Munch, 1940

oil, canvasExpressionismportraitportraitfigurewindowtreessnowinterior

recreation guide

Edvard Munch’s 'By the Window' (1940) is a late work that exemplifies his lifelong commitment to Expressionism, where the goal is not photographic realism but the conveyance of 'inner significance' and emotional states (Source 6, Source 7). Munch’s practice was defined by seeing only the 'essential' and subordinating all other details to what he felt and what 'gripped him' (Source 7). Consequently, the painting likely features simplified forms, heavy outlines, and sharp contrasts rather than meticulous finish, as Munch believed art is complete once the artist has expressed their internal state (Source 7). The work serves as a portrait genre piece, aiming to reveal character and moral quality rather than temporary physical likeness (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 (various hues)	Primary medium for layering and glazing	—
Linseed oil or Poppy seed oil	Binder and medium for glazing/scumbling	Cold-pressed linseed oil
Turpentine	Thinner for initial layers and cleaning	Odorless mineral spirits
Canvas	Support surface	Linen or cotton canvas
Varnish (optional)	For mixing with oil in later glazing stages if desired	Dammar varnish

preparation

surface prep

Standard oil painting preparation on canvas. While specific priming methods for this 1940 work are not detailed in the sources, Munch’s general practice involved working on prepared surfaces that allowed for his characteristic layering. The sources note that oil painting allows for 'greater flexibility, richer and denser color, and the use of layers' (Source 8).

underdrawing

Munch’s preparatory methods are not explicitly detailed in the provided sources. However, given his focus on 'essential' forms and 'simplified forms' (Source 7), the underdrawing was likely loose and structural rather than highly finished. Source 3 suggests that for expressive work, drawing should become 'almost instinctive' to free the mind for 'bigger qualities' and emotional stimulus, implying a rapid, confident initial mark-making rather than prolonged academic study.

underpainting

The sources describe a traditional method of creating a monochrome underpainting (grisaille) using black, ultramarine, and white, which is then glazed with red and yellow tones (Source 2). While this is a general historical technique described in Source 2, Munch’s specific use of underpainting in 1940 is not explicitly confirmed. However, his style of 'heavy outlines' and 'sharp contrasts' (Source 7) suggests a strong foundational layer to establish value and form before applying expressive color.

color palette

Earth tones / Neutrals

Black, Ultramarine, White (for grisaille)

Establishing value structure and form in underpainting, consistent with traditional methods described in Source 2.

Red and Yellow tones

Various reds and yellows

Glazing and scumbling over the dry underpainting to introduce warmth and emotional intensity, as described in Source 2.

High Contrast Colors

Dependent on specific emotional intent

Creating 'sharp contrasts' and 'simplified forms' characteristic of Munch’s mature style (Source 7).

composition

Munch 'carefully calculated his compositions to create tension and emotion' (Source 7). In this portrait, the composition likely emphasizes the 'inner essence' of the subject rather than literal likeness (Source 6). The arrangement of elements would serve to highlight the 'emotional significance' rather than scientific accuracy (Source 3). Specific details of the room layout or window placement are not described in the sources, so the composition should focus on balancing the figure with the negative space to enhance the psychological weight of the scene.

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the essential forms of the figure and window frame. Focus on capturing the 'inner significance' and emotional state rather than minute details.
Tip — Avoid 'scientific accuracy'; aim for 'artistic accuracy' that conveys sensation (Source 3).
Expressive Drawing

underpainting

step 02
Apply a monochrome layer (grisaille) using black, ultramarine, and white to establish values and forms. This extracts the red and yellow colors, focusing on structure.
Tip — Ensure this layer is completely dry before proceeding to glazing.
Grisaille Underpainting

first pass

step 03
Begin glazing and scumbling with oil. Apply transparent coats of red and yellow tones over the dry grisaille to introduce color and warmth.
Tip — Glazing is a transparent coat; scumbling is semi-opaque. Use these to modulate the underlying painting (Source 2).
Glazing and Scumbling

refining

step 04
Refine the forms to emphasize 'simplified forms' and 'heavy outlines'. Subordinate details to the emotional impact.
Tip — Remember that Munch’s pictures are 'complete' when the emotional content is conveyed, not when every detail is rendered (Source 7).
Expressionist Simplification

finishing

step 05
Adjust contrasts to create tension. Ensure the 'sharp contrasts' characteristic of his style are present.
Tip — Check that the work conveys the 'state of mind' rather than just external reality (Source 7).
Contrast Enhancement

critical techniques

Glazing and Scumbling

Used to apply transparent and semi-opaque layers of color over a dry monochrome underpainting, allowing the underlying structure to influence the final appearance (Source 2).

Emotional Expression over Realism

Prioritizing the 'inner significance' and 'emotional stimulus' over accurate representation of physical details (Source 3, Source 6, Source 7).

Simplified Forms and Heavy Outlines

A hallmark of Munch’s mature style, used to convey tension and emotion through calculated composition (Source 7).

common pitfalls

→Attempting to achieve 'scientific accuracy' or photographic realism, which contradicts Munch’s goal of expressing 'inner significance' (Source 3, Source 6).
→Over-modeling or being 'too tied down to outline,' which Source 1 warns against for artists who need to learn to depart from strict boundaries (Source 1).
→Ignoring the emotional stimulus, resulting in a 'commonplace appearance' rather than a vivid, expressive form (Source 3).
→Applying glazes before the underpainting is completely dry, which can ruin the layering effect (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 pigments used by Munch in 1940 are not detailed in the sources.
·Exact dimensions and aspect ratio of the canvas are not provided.
·Specific details of the subject’s clothing, facial features, or the window’s appearance are not described in the sources, so they must be inferred from general knowledge of Munch’s style or left abstract.
·Munch’s specific brushstroke techniques for this late period are not explicitly detailed, though 'variety of brushstroke techniques' is mentioned generally (Source 7).

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 and glazing techniques (Source 2)
- ON COPYING — applied to General advice on avoiding over-modeling and smallness (Source 1)
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to Philosophy of expressive drawing and emotional accuracy (Source 3)

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia bio — Edvard Munch↗
- part 5 — applied to Munch’s style, simplified forms, and emotional focus (Source 7)
Wikipedia: Portrait painting↗
- part 2 — applied to Goal of portraying inner essence and character (Source 6)

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

chat about this artwork

in this vein