plate no. 3497
Don Juan Tenorio. The abduction of Dona Ines
Carlos Saenz de Tejada, 1946
recreation guide
This artwork, 'Don Juan Tenorio. The abduction of Dona Ines' (1946) by Carlos Saenz de Tejada, is an oil painting executed in the Art Nouveau (Modern) style, functioning primarily as an illustration. While specific visual details of the composition are not described in the provided sources, the work belongs to a tradition of oil painting that values the medium's capacity for 'richer and denser color' and the use of layers to achieve a wide range from light to dark (Source 4). The artist’s practice likely involves a balance between direct painting and layered techniques, as the sources discuss the historical prevalence of glazing and scumbling among old masters, a method that modern painters sometimes reject but which remains central to achieving depth in oil illustration (Source 1).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Linseed oil | Primary binder for oil paint, providing flexibility and rich color | Refined linseed oil |
| Spirits of turpentine | Thinner for initial layers to allow paint to dry 'dead' and remain absorbent for subsequent layers | Odorless mineral spirits or pure gum turpentine |
| Oil of copavia | Historical medium mentioned for first and second paintings to aid in glazing | Stand oil or damar varnish mixed with oil |
| Palette colors | Includes two whites, yellow ochre, light red, vermilion, rose madder, cobalt, emerald, oxide of chromium, raw and burnt umber, and ivory black | Standard artist-grade oil paints in these hues |
| Canvas or wood panel | Support for the oil painting | Primed linen canvas or gessoed wood panel |
preparation
surface prep
The surface should be prepared to accept oil layers. While the sources do not specify Saenz de Tejada's exact ground, standard practice for oil painting involves a stable, slightly absorbent ground. The sources note that oil paint has 'greater flexibility' and allows for the use of layers, implying a need for a ground that can withstand multiple applications of glaze and scumble without cracking (Source 4).
underdrawing
The sources suggest that contour drawing is an essential foundation, emphasizing mass and volume rather than minor details (Source 5). For an illustration in the Art Nouveau style, the underdrawing likely emphasizes the outlined shape of the subjects to convey form and space. The artist may have used a continuous-line approach to establish the silhouette before applying tone (Source 5).
underpainting
A monochrome underpainting (grisaille) is a likely preparatory step, supported by the discussion of 'colouring a monochrome' where red and yellow tones are mentally extracted, leaving a neutral ground (Source 1). This grisaille establishes the light and shadow structure. The sources indicate that this preparation allows the artist to later glaze and scumble transparent and semi-opaque colors over it, much like tinting an engraving (Source 1).
color palette
White
Two whites (likely lead white and zinc or titanium white)
Highlights and mixing to adjust tone
Yellow Ochre
Natural earth pigment
General use in flesh tones and earthy backgrounds
Vermilion
Red lead sulfide
Vibrant reds in draperies or accents
Rose Madder
Organic red lake
Flesh tones and delicate glazes
Cobalt
Cobalt blue
Cool shadows and sky elements
Emerald
Emerald green
Foliage or decorative elements
Raw and Burnt Umber
Earth browns
Shadows, hair, and grounding tones
Ivory Black
Organic black
Deep shadows and outlining
composition
The sources do not describe the specific layout of 'Don Juan Tenorio.' However, the artist likely employed principles of simultaneous contrast to harmonize colors inherent to the objects, such as flesh tones, while choosing complementary colors for draperies and backgrounds to enhance visual impact (Source 2). The composition may rely on chiaroscuro effects, where juxtapositions of light and dark tones create a gradation of light, enhancing the three-dimensional form of the figures (Source 6).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the main figures using contour lines to emphasize mass and volume rather than fine detail.
Tip — Focus on the silhouette and the relationship between form and space.
Contour drawing
underpainting
step 02
Apply a monochrome grisaille using black, ultramarine, and white with oil of copavia as a medium.
Tip — Mentally extract red and yellow colors, focusing on the structural light and shadow.
Grisaille
first pass
step 03
Once the grisaille is dry, begin glazing with transparent coats of color, particularly red and yellow tones.
Tip — Use oil or a mix of varnish and oil to apply thin, transparent layers.
Glazing
refining
step 04
Apply scumbling with semi-opaque paint over darker grounds to create coldness or grey blooms.
Tip — Allow the underlying painting to show through the semi-opaque layer.
Scumbling
finishing
step 05
Adjust colors based on simultaneous contrast, ensuring that adjacent colors enhance each other's intensity.
Tip — Be aware that the eye may perceive colors differently due to the influence of neighboring hues.
Simultaneous contrast
varnishing
step 06
Apply a final varnish to protect the painting and unify the surface sheen.
Tip — Ensure the painting is completely dry before varnishing.
Varnishing
critical techniques
Glazing
Applying transparent coats of color over a dry underpainting to build depth and richness, a method practiced by old masters and relevant to this artist's oil technique.
Scumbling
Using semi-opaque paint over darker grounds to create subtle tonal variations and coldness, allowing the underlying layer to influence the final appearance.
Simultaneous Contrast
Adjusting colors based on their interaction with adjacent hues to achieve harmony and accurate perception of light and tone.
common pitfalls
- →Using too much oil in early layers, which can darken the color and make the surface 'soapy,' hindering subsequent layers (Source 3).
- →Ignoring the effects of simultaneous contrast, leading to inaccurate color perception and disharmony in the composition (Source 2).
- →Attempting to achieve illusionistic deception rather than expressing the emotional idea through the vitality of the medium (Source 7).
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 composition, such as the exact poses of Don Juan and Dona Ines, are not described in the sources.
- ·The artist's specific palette preferences beyond the general list provided are not detailed.
- ·The exact ratio of varnish to oil used in glazing is not specified, requiring experimentation.
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
- PAINTING IN COLOUR DIRECT FROM LIFE — applied to Palette selection and medium usage
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and simultaneous contrast
- 6 — applied to Chiaroscuro and tonal gradation
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of medium usage
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- part 1 — applied to General oil painting properties and materials
Wikipedia: Contour drawing↗
- part 1 — applied to Underdrawing approach
Read more about the corpus on the sources page and how the guides are built on the methods page.
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