plate no. 7855

Don Juan. Illustration.

Carlos Saenz de Tejada, 1938

oilArt Nouveau (Modern)illustrationfigureskeletondogbedcandleskull

recreation guide

This recreation guide addresses the 1938 oil illustration 'Don Juan' by Carlos Saenz de Tejada. While the provided sources do not contain a visual description of this specific artwork, they offer extensive technical grounding in the traditional oil painting methods likely employed by an artist of this period and genre. The process relies on the 'old master' techniques of glazing and scumbling over a monochrome underpainting (grisaille), as detailed in historical treatises on oil practice. The artist’s work falls within the Art Nouveau/Modern illustration genre, suggesting a focus on line and rhythmic composition, potentially influenced by the structural principles of chiaroscuro and the avoidance of exact bisections in layout.

estimated time

20-30 hours over 5-7 sessions (allowing for drying times between glaze layers)

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Linseed oil	Primary drying oil medium for mixing paints and glazes	Refined linseed oil
Oil of Copavia (or modern substitute like Galkyd)	Medium for initial oil layers, as cited in Reynolds' method	Galkyd or Liquin
Pigments: Black, Ultramarine, White	For the initial monochrome (grisaille) underpainting	Ivory Black, Ultramarine Blue, Titanium White
Red and Yellow pigments	For transparent glazing layers to introduce color	Alizarin Crimson, Cadmium Yellow or similar transparent reds/yellows
Varnish	Mixed with oil for later glazing stages to increase transparency and flow	Dammar varnish or modern resin varnish
Canvas or Panel	Support for the oil painting	Linen canvas primed with gesso

preparation

surface prep

Prepare a rigid support (panel or stretched canvas) with a smooth ground. While specific preparation for Saenz de Tejada is not detailed, traditional oil practice requires a stable, non-absorbent surface to support the layering of glazes. Ensure the surface is dry and free of dust before beginning the underdrawing.

underdrawing

Begin with a clear outline basis. Historical practice emphasizes that 'the outline basis remained' as the means of holding pictures together, even in works using chiaroscuro (Source 5). Use charcoal or thinned oil to sketch the composition, ensuring the lines are firm enough to guide the subsequent monochrome painting but flexible enough to allow for adjustments.

underpainting

Execute a grisaille (monochrome underpainting) using black, ultramarine, and white mixed with oil of copavia (or a modern equivalent) (Source 1). This layer establishes the values and forms without color. The goal is to 'mentally extract the red and yellow colours' and translate what would be left in nature if these colors were not present (Source 1). This step is crucial for the subsequent glazing technique.

color palette

Black

Ivory Black or Lamp Black

Grisaille underpainting and shadows

Ultramarine

Ultramarine Blue

Grisaille underpainting, providing cool tones in shadows

White

Lead White (historical) or Titanium White (modern)

Grisaille underpainting, highlights, and scumbling

Red

Transparent red pigment (e.g., Alizarin)

Glazing layer to introduce warmth and flesh tones

Yellow

Transparent yellow pigment (e.g., Yellow Ochre or Cadmium)

Glazing layer to introduce light and warmth

composition

While specific visual details of 'Don Juan' are not provided, general compositional principles for illustration suggest avoiding exact bisections of the picture space and ensuring a center of interest to prevent the work from becoming merely a pattern (Source 4). The artist likely employed rhythmic lines to direct the viewer's eye, potentially using dark masses in corners to avoid drawing attention to the boundaries of the rectangular format (Source 6). The composition should balance detailed areas with 'rest' areas to guide the viewer's gaze effectively (Source 4).

step by step

underdrawing→underpainting→refining→finishing

underdrawing

step 01
Sketch the composition on the prepared surface, focusing on the outline basis and rhythmic lines.
Tip — Ensure the lines are not too rigid; they should serve as a guide for the massing of light and shade.
Outline drawing

underpainting

step 02
Paint the grisaille using black, ultramarine, and white mixed with oil of copavia. Establish all values and forms.
Tip — Mentally exclude red and yellow tones; focus on the structural values.
Grisaille

refining

step 03
Allow the grisaille to dry completely. This is essential before applying glazes.
Tip — Rushing this step can lead to muddying of the layers.
Drying

finishing

step 04
Apply transparent glazes of red and yellow tones using oil. This mimics tinting an engraving with watercolors.
Tip — Glazing is a transparent coat of color that allows the underlying grisaille to show through.
Glazing
step 05
Use scumbling (semi-opaque painting) over darker grounds to create coldness or grey blooms, if desired.
Tip — Scumbling allows the underlying painting to make itself felt, adding texture and complexity.
Scumbling
step 06
For advanced mastery, mix varnish with oil for subsequent glaze layers to enhance transparency and depth.
Tip — This technique was used by old masters to achieve luminous effects.
Varnish glazing

critical techniques

Glazing

A transparent coat of color applied over a dry underpainting to modify hue and value without obscuring the form. Essential for achieving the luminous quality associated with old master techniques.

Scumbling

A semi-opaque painting technique used over darker grounds to create coldness or grey blooms, allowing the underlying layer to influence the final appearance.

Simultaneous Contrast

Awareness that colors appear different when placed next to each other. The painter must perceive and imitate these modifications to harmonize the composition.

common pitfalls

→Applying glazes before the underpainting is completely dry, which can result in muddy colors and damaged layers (Source 1).
→Ignoring the law of simultaneous contrast, leading to inaccurate color perception and disharmony in the final piece (Source 2).
→Over-modeling or becoming too tied to the outline, which can result in a small, timid appearance rather than a bold, rhythmic composition (Source 3).
→Placing the subject in exact bisection or facing out of the image, which can weaken the compositional flow (Source 4).

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 'Don Juan' (e.g., figure poses, background elements, specific color choices) are not described in the sources.
·Carlos Saenz de Tejada's personal material habits or deviations from traditional methods are not detailed in the provided texts.
·The specific influence of Art Nouveau on this particular illustration's line work is inferred from the style label but not explicitly described in the sources.

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
- ON COPYING — applied to Advice on avoiding over-modeling and maintaining broad masses
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and perception of simultaneous contrast
The Practice and Science of Drawing↗
- STUDY BY WATTEAU — applied to Importance of outline basis and chiaroscuro
- ILLUSTRATING SOME OF THE LINES... — applied to Rhythmic power of lines and handling corners in rectangular compositions