plate no. 7395

Emile Bernard

oil, canvasPost-Impressionismportraitportraitfiguremanclothinghairface

recreation guide

This recreation guide addresses Henri de Toulouse-Lautrec’s 1885 portrait of Émile Bernard. While the specific visual details of this particular canvas are not described in the provided sources, the artwork falls within the Post-Impressionist genre and utilizes oil on canvas. The period (1885) predates Toulouse-Lautrec’s most famous poster work but aligns with his early development in Paris. The sources provided focus heavily on color theory (complementary colors, harmony) and the general practice of oil painting, rather than specific iconography of this portrait. Therefore, the instructions rely on the documented general practices of oil painting from this era and the theoretical frameworks of color contrast and harmony that were prevalent among Post-Impressionists, as well as the specific influence of Émile Bernard’s emerging style (Cloisonnism) which emphasized simplification and bold contours, though the extent to which Toulouse-Lautrec adopted these specific traits in 1885 is a matter of historical inference rather than explicit source description.

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (primary colors: red, yellow, blue; plus earth tones)	To create the full range of hues required for a portrait, adhering to the traditional RYB model or modern subtractive models.	Titanium White, Cadmium Red/Yellow, Ultramarine Blue, Burnt Umber, Yellow Ochre
Linseed oil or poppy seed oil	Binder for the pigments, providing flexibility and rich color density.	Stand Linseed Oil or Cold-Pressed Linseed Oil
Turpentine or odorless mineral spirits	Thinner for initial layers and cleaning brushes.	Gamsol or Odorless Mineral Spirits
Canvas	Support for the oil painting.	Linen or cotton canvas, primed
Brushes (various sizes)	Application of paint, from broad masses to finer details.	Hog bristle for impasto, sable for glazing

preparation

surface prep

The canvas should be primed with a ground suitable for oil painting. While the sources do not specify Toulouse-Lautrec’s exact ground for this 1885 work, standard practice for the period involved preparing the canvas to accept oil layers. The sources note that oil painting allows for 'greater flexibility, richer and denser color, the use of layers, and a wider range from light to dark' (Source 8). Ensure the surface is stable to support the layering technique inherent to oil painting.

underdrawing

The sources do not provide specific information on Toulouse-Lautrec’s underdrawing methods for this portrait. However, Émile Bernard, the sitter, advocated for simplifying nature to 'main contrasts' and drawing its 'plan' (Source 5). It is likely that a loose, gestural underdrawing was used to establish the composition, consistent with the Post-Impressionist move away from rigid academic outlining. If the artist’s general practice is considered, Toulouse-Lautrec often used rapid, expressive lines, but without specific source confirmation for this piece, the underdrawing should be kept light and non-committal to allow for color adjustments.

underpainting

An underpainting (imprimatura) is recommended to establish tonal values. Source 2 discusses the 'law of contrast of colour' and how juxtapositions of tones create chiaroscuro. A neutral gray or earth-tone underpainting can help manage the 'gradation of light' and ensure that the final colors interact harmoniously. This step aligns with the general advice in Source 6 to build up knowledge of the medium through structured practice.

color palette

Complementary Pairs (e.g., Red-Green, Blue-Orange, Yellow-Purple)

Mix primary colors to create secondaries; use pure primaries for contrast.

Creating strong visual contrast and tension, as described in Source 1 and Source 4. Complementary colors placed next to each other create 'strong contrast' and 'visual tension'.

Earth Tones (Ochres, Umbers)

Natural ochres, burnt sienna, burnt umber.

Broken tones and flesh tones. Source 7 notes that earths and ochres are 'quite sufficient for broken tones frequently wanted' and have 'perfect fixedness'.

White (Lead White or Titanium White)

Pure white pigment.

Highlighting and mixing to create tints. Source 1 mentions the black-white pair is common to all color theories.

Black (Ivory Black or Lamp Black)

Pure black pigment.

Deep shadows and contours. Source 7 lists various blacks prepared from combustion, such as ivory black.

composition

The specific composition of this portrait is not described in the sources. However, general principles of color harmony and contrast apply. Source 4 states that color harmony creates 'pleasing contrasts and consonances.' The artist should aim for a balanced composition where complementary colors are used to create interest without chaos. Source 2 advises that 'devoting themselves to great effects, many small ones resulted from them,' suggesting a focus on major tonal and color relationships rather than minute details.

step by step

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

underdrawing

step 01
Lightly sketch the main forms of the portrait on the primed canvas using a thin wash of oil paint or charcoal.
Tip — Keep lines loose to allow for adjustments. Focus on the 'main contrasts' as suggested by Bernard’s philosophy (Source 5).
Gestural underdrawing

underpainting

step 02
Apply a thin layer of neutral tone (e.g., gray or brown) to establish the basic light and shadow structure.
Tip — This helps in managing the 'gradation of light' and chiaroscuro effects (Source 2).
Imprimatura

first pass

step 03
Block in the major color masses using complementary colors to create contrast. For example, use warm tones for lit areas and cool tones for shadows, or vice versa, depending on the desired effect.
Tip — Remember that 'when two highly chromatic complementary colors are placed next to each other, they create a strong contrast' (Source 1).
Complementary Contrast

refining

step 04
Refine the details, paying attention to the 'law of simultaneous contrast.' Adjust colors based on their neighbors to enhance harmony.
Tip — Source 2 notes that 'attention to these principles... exercises a very happy influence upon the art of painting.'
Simultaneous Contrast

finishing

step 05
Add final highlights and deep shadows. Use earth tones for flesh if needed, as they are 'sufficient for broken tones' (Source 7).
Tip — Ensure the 'invisible meaning' is conveyed through the visible forms, aligning with Bernard’s symbolic approach (Source 5).
Glazing/Impasto

varnishing

step 06
Once the painting is completely dry, apply a varnish to protect the surface and enhance color depth.
Tip — Source 8 mentions that oil may be boiled with resin to create a varnish for 'protection and texture.'
Varnishing

critical techniques

Complementary Color Contrast

Using pairs like red-green or blue-orange to create visual tension and harmony. This is a core principle of Post-Impressionist color theory.

Simplification of Form

Reducing lines to 'main contrasts' and simplifying nature to its essential plan, a technique associated with Émile Bernard’s Cloisonnism.

Layering

Building up paint layers to achieve rich color and depth, a standard advantage of oil painting.

common pitfalls

→Over-mixing complementary colors, which can result in 'grayscale color like white or black' and loss of chroma (Source 1).
→Ignoring the 'law of simultaneous contrast,' leading to muddy or dull colors when placed next to each other (Source 2).
→Using too many colors without a harmonious scheme, which can create visual chaos rather than 'pleasing contrasts' (Source 4).
→Relying on direct observation without 'appealing to conception and memory,' which Bernard argued was necessary to express 'invisible meaning' (Source 5).

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 portrait (e.g., Bernard’s pose, clothing, facial expression) are not described in the sources.
·Toulouse-Lautrec’s specific brushwork or palette for this 1885 work is not detailed; the guide relies on general Post-Impressionist and oil painting practices.
·The exact influence of Bernard’s Cloisonnism on this specific portrait is inferred from Bernard’s general style, not explicitly stated for this artwork.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Chiaroscuro and simultaneous contrast principles
The Practice of Oil Painting↗
- ON COPYING — applied to General advice on painting practice and copying
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Use of earth tones and historical pigments

cross-referenced from

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

Wikipedia: Complementary colors↗
- Complementary colors — part 1 — applied to Color palette selection and contrast techniques
Wikipedia bio — Emile Bernard↗
- part 3 and part 5 — applied to Context on Bernard’s style (Cloisonnism, simplification) and influence
Wikipedia: Harmony (color)↗
- Harmony (color) — part 1 — applied to Color harmony and complementary pairs
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to General oil painting techniques, layering, and varnishing