plate no. 5415

Don Juan Tenorio. Seville Street

Carlos Saenz de Tejada, 1946

oilArt Nouveau (Modern)illustrationarchitecturebuildingsstairsfigurescityscapearch

what to study here

It shows how a dark foreground arch, graded line weight, and bare paper can build deep space in a narrow street using value alone.

Study how one dark mass controls the whole picture. According to the vision analysis, a heavy curved arch sits in the left foreground in near-black marks, and everything else is organized around it. Squint and you get three zones: deep shadow in the arch, mid-gray modeled walls in the middle, and pale unworked paper at the far end where the cathedral sits at the vanishing point. The light comes from above left, rakes across the right wall and the street, and the eye is pushed through the arch toward the distance. Look at line weight too. Marks are heavy and directional near the viewer, then thinner and sparer as the street recedes, which does the work of atmospheric perspective without any color. Small figures at lower right give scale. Copy the arch's hatching along its curve, then copy the cathedral with as few marks as you can. The exercise is learning how much you can leave out in the distance and still read the building.

key decision

The painter put the darkest, heaviest marks in a foreground arch at left and left the distant cathedral almost bare paper, so value contrast alone drives the eye down the street.

recreation guide

This recreation guide addresses Carlos Saenz de Tejada’s 1946 oil painting 'Don Juan Tenorio. Seville Street,' classified as an illustration in the Art Nouveau (Modern) style. While specific visual details of the street scene are not described in the provided sources, the technical approach is grounded in traditional oil painting practices relevant to the period and medium. The process emphasizes the separation of tonal structure from color application, a method historically associated with old masters but applicable to modern illustrative work. The artist’s practice likely involves a disciplined approach to composition, ensuring that the viewer’s eye is guided through the scene without being distracted by symmetrical bisections or static patterns.

estimated time

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

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, Black, White, Yellow ochre/red earth, Vermilion/Cadmium Red)	Ultramarine, black, and white for the initial grisaille underpainting; red and yellow tones for subsequent glazing.	—
Linseed oil or Oil of Copavia	Medium for the initial underpainting layers to ensure proper flow and drying characteristics.	Stand oil or refined linseed oil
Varnish (Dammar or similar)	Mixed with oil for later glazing stages to increase transparency and depth, as per traditional methods.	Modern artist varnish
Canvas or Panel	Support for the oil painting.	—
Brushes (Flat and Filbert)	For applying broad masses in the underpainting and fine glazes in the finishing stages.	—

preparation

surface prep

Prepare a standard oil ground on canvas or panel. While the sources do not specify Saenz de Tejada’s exact ground, traditional oil painting practice requires a stable, slightly absorbent surface to accept the initial oil layers. Ensure the surface is dry and free of dust before beginning the underdrawing.

underdrawing

Create a precise underdrawing using charcoal or thinned oil paint. Given the illustrative nature of the work, the drawing should establish the architectural lines of the Seville street and the figures of Don Juan Tenorio. The drawing should serve as the 'alphabet' of the art, ensuring that the structural integrity of the composition is sound before color is applied (Source 3).

underpainting

Execute a monochrome underpainting (grisaille) using only black, ultramarine, and white mixed with oil of copavia or linseed oil. This step establishes the light and shadow structure of the scene. The artist must mentally extract red and yellow colors, focusing solely on the tonal values that would remain if those hues were absent from nature (Source 1). This layer must be allowed to dry completely before proceeding.

color palette

Ultramarine/Black/White

Ultramarine, Ivory Black, Titanium White

Initial grisaille underpainting to establish form and value.

Yellow Tones

Yellow Ochre, Cadmium Yellow, or Lead-Tin Yellow (historical)

Glazing over the dried grisaille to introduce warmth and light, particularly in sunlit areas of the street.

Red Tones

Vermilion, Cadmium Red, or Red Earth

Glazing to add depth and richness to shadows and colored elements, such as clothing or architectural details.

composition

Apply general compositional principles suitable for illustrative genre scenes. Avoid exact bisections of the picture space and ensure the prominent subject (likely Don Juan or a key architectural feature) is off-center to create dynamic balance (Source 2). Use detailed areas to draw the eye and 'rest' areas to provide visual relief, preventing the image from becoming a mere pattern (Source 2). Ensure the viewer’s gaze is led around all elements before exiting the picture, maintaining a rhythmic flow consistent with Art Nouveau sensibilities (Source 8).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the composition lightly, focusing on the arrangement of lines and masses. Ensure the design relates to the rectangular shape of the canvas, using vertical and horizontal lines to establish structure.
Tip — Avoid placing the main subject in the exact center; use off-center placement for balance.
Linear Composition

underpainting

step 02
Mix black, ultramarine, and white with oil of copavia. Paint the entire scene in monochrome, focusing on accurate tonal values. Mentally exclude red and yellow hues to isolate the structural light and shadow.
Tip — Ensure this layer is completely dry before adding color to prevent muddiness.
Grisaille

first pass

step 03
Begin glazing with transparent oil colors. Apply yellow and red tones over the dried grisaille, similar to tinting an engraving with watercolors. Use thin, transparent layers to allow the underlying monochrome structure to show through.
Tip — Start with oil-only mediums for better control before introducing varnish mixes.
Glazing

refining

step 04
Introduce scumbling techniques where needed. Apply semi-opaque paint over darker grounds to create coldness or grey blooms, particularly in shadowed areas of the street or clothing.
Tip — Scumbling tends to cool down the tone; use it to adjust the temperature of shadows.
Scumbling

finishing

step 05
Refine details and adjust contrasts. Ensure that small, high-contrast elements are balanced against larger, duller areas to maintain visual interest. Check that no spaces between objects are identical, creating a more engaging image.
Tip — Use detail to guide the eye, but leave some areas less detailed to provide visual rest.
Detailing and Contrast

varnishing

step 06
Once the painting is fully dry, apply a final varnish to unify the surface and enhance the depth of the glazes.
Tip — Ensure the painting is completely dry to avoid trapping solvents.
Varnishing

critical techniques

Glazing

Applying transparent coats of color over a dried monochrome underpainting to build up luminosity and depth. This method allows the underlying structure to influence the final color appearance.

Scumbling

Using semi-opaque paint over darker grounds to create cool, greyish tones. This technique is useful for adjusting the temperature of shadows and adding texture.

Monochrome Underpainting

Establishing the full tonal range of the painting using only black, ultramarine, and white before introducing color. This separates the problem of value from the problem of hue.

common pitfalls

→Applying color before the grisaille is completely dry, which can lead to muddying the underpainting and losing the clarity of the tonal structure.
→Over-modeling or becoming too tied to the outline, which can result in a stiff, lifeless appearance. Use broad masses first and refine later.
→Creating exact bisections in the composition, which can make the image feel static and unbalanced.
→Ignoring the rhythmic flow of lines, causing the viewer’s eye to get stuck in corners or dead ends rather than moving through the composition.

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 Tenorio. Seville Street' (e.g., exact clothing patterns, architectural features, facial expressions) are not described in the sources, so the guide relies on general illustrative and Art Nouveau conventions.
·Carlos Saenz de Tejada’s specific personal palette preferences are not detailed in the provided sources; the guide uses standard historical oil painting pigments.
·The exact proportion of varnish to oil in the glazing medium is not specified, requiring the artist to experiment based on desired transparency and drying time.

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, Glazing, Scumbling, and Color Palette selection.
- ON COPYING — applied to Underdrawing and the importance of craftsmanship.
The Practice and Science of Drawing↗
- ILLUSTRATING SOME OF THE LINES... — applied to Compositional rhythm and line direction.

cross-referenced from

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

Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 6 — applied to Composition Notes and Step 1/5 instructions regarding balance and detail.

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

A dramatic perspective study of a narrow Seville street receding through massive archways toward a distant Gothic cathedral. The composition is anchored by a powerful curved archway in the extreme foreground (left side), rendered in near-black charcoal with bold directional marks, which frames the lighter street and buildings beyond. Light rakes across the scene from above-left, illuminating the right wall and the receding street while casting deep shadows under the arch and along the left edge. The eye travels directly from the dark arch through the middle passage toward the small but distinct cathedral visible at the vanishing point. Small human figures at the base right provide scale and focal breathing room.

value structure

The value organization is dramatic and clear: near-black charcoal in the foreground arch creates immediate depth, mid-gray tones dominate the illuminated architectural surfaces, and the cream paper itself functions as the lightest light (the distant street and cathedral). Three distinct zones are visible when squinting: deep shadow (foreground), mid-tone modeled surfaces (middle buildings), and pale background. The harsh light-to-shadow transition at the arch edge is the composition's darkest moment and draws the eye first.

observed palette and mixes

#3b3d3a
Charcoal or 4B/6B graphite, pure
The massive curved archway, deepest shadows in left corner, and hatched shadows under the arch
#60605b
Charcoal mid-tone or 2B graphite with light blending
Shadow planes on the right wall, recessed doorways, and the underside of the arch opening
#797871
Medium charcoal or blended 2B, with eraser lifting
Mid-tone architectural surfaces, the stepping street details, and transition areas between light and shadow
#a49f95
Light charcoal dust or HB graphite, lightly applied
Illuminated building facades visible through the arch and upper portions of the street
#cdc3b6
Paper showing through minimal marks, white eraser highlights
Upper portions of the street receding to distance, and selective highlights on architectural edges
#e4d9cb
Unworked paper, cream support
The distant cathedral building, the pale sky, and the farthest reaches of the street

edges and brushwork

The archway employs bold, directional hatching with substantial line weight to establish form and shadow — marks follow the curve confidently without hesitation. Lighter areas use softer blending and selective erasure to suggest atmospheric perspective; the distant cathedral is rendered with minimal, spare marks. The top of the composition features expressive, gestural drapery marks (possibly a curtain or billowing fabric) that use sweeping charcoal strokes with variable pressure. Throughout, line weight varies dramatically: heavy and deliberate in the foreground, becoming thinner and more suggestive in the distance.

a working sequence

01
Establish the perspective skeleton
Lightly map the two receding vertical walls (left and right edges) and the central vanishing point. Draw the major archway curve on the left and the stepped street receding toward it. Use a ruler for the architecture but keep lines light — the eye should not land here later.
02
Build the foreground arch mass
Begin shaping the massive arch with light, directional charcoal marks following the curve. Establish the shadow direction (coming from above-left) and lay in mid-tone hatching. The inside of the arch will be your darkest area, so prepare bold, layered marks here.
03
Develop shadow zones systematically
Intensify the arch interior with heavier charcoal, using cross-hatching and directional marks. Block in the shadow on the right wall (especially the recessed doorways and under-arch areas). Keep edges soft in the middle ground where light and shadow meet — use blending stumps to merge tones.
04
Establish the distant architecture
Render the cathedral building visible through the arch with light, sparse marks — it must read as farther away. Define the main architectural forms (towers, doorways, windows) but keep them simplified and less distinct than foreground elements. The street leading to it should be pale but show directional perspective.
05
Model the illuminated right wall
Carefully render the mid-tone surfaces facing the light source. Use lighter graphite (HB or light 2B) and show how the light wraps around architectural details. Leave the paper clean in key highlight areas (upper wall, distant street) to maximize contrast against dark shadows.
06
Add the human figures and foreground detail
Place the small figures at the base right in silhouette or very dark tone — they should almost disappear into shadow at first glance but appear on second look. Add final architectural details (balconies, railings, window grilles) with confident, precise marks. Make these sharper than distant features.
07
Work the drapery and atmospheric effects
Address the billowing drapery or fabric forms at the very top left with expressive, bold charcoal strokes. These marks should feel gestural and separate from the tight architectural work. Soften edges where the distant street meets sky by reducing line weight and pressure.
08
Final value adjustment and refinement
Step back and assess value range. Deepen the arch shadows if they don't read as sufficiently deep. Use an eraser (kneaded or sharp) to recover highlights and create edge sparkle on illuminated architectural planes. Make sure the distant cathedral remains pale and soft compared to the foreground intensity.

where studies of this painting go wrong

Perspective failure: if the two receding wall lines don't converge convincingly toward the vanishing point, the entire composition will feel tilted or unstable. Check alignment frequently.
Flattening the arch: rendering it with uniform tone makes it read as a 2D shape rather than a massive curved void. Vary values across the interior — lightest at the opening, darkest in recesses.
Losing atmospheric perspective: if the distant cathedral is rendered as dark and sharp as the foreground arch, it advances instead of receding. Keep it pale, soft-edged, and simplified.
Overworking the sketch quality: too much blending and refinement erases the expressive, energetic charcoal marks that give this composition its life. Stop before it looks polished.
Mishandling the human figures: rendering them too large or too detailed breaks their sense of standing in a vast space. Keep them small, gestural, and often in shadow.

measured difficulty