plate no. 9947
Farm in Brittany
Paul Gauguin, 1894
recreation guide
Paul Gauguin’s *Farm in Brittany* (1894) is a quintessential example of his Synthetist period, characterized by the rejection of naturalistic modeling in favor of flat areas of color and bold outlines. Consistent with his documented practice, the work likely employs 'analogous colours in close proximity to achieve a muted effect' while simultaneously utilizing 'non-representational colour' to create a canvas with 'independent existence and vitality' (Source 3). The composition emphasizes 'major forms and upright lines to clearly define shape and contour,' reflecting his influence from folk art and Japanese prints (Source 3). Rather than capturing optical reality, Gauguin intended such works to function like musical compositions, where 'a definite arrangement of lines and colours' creates 'symphonies and harmonies' that stimulate the imagination rather than depicting direct ideas (Source 3).
estimated time
20-30 hours over 5-7 sessions
materials
4 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (primary pigments: Ultramarine, White, Black, plus Red and Yellow earths/ochres) | To create the initial monochrome underpainting and subsequent color layers. | — |
| Linseed oil or Oil of Copavia | Medium for the initial oil layers, as historically recommended for this technique. | Stand oil or pure linseed oil |
| Varnish | To mix with oil for glazing and scumbling layers once mastery is gained. | Dammar varnish or modern painting medium |
| Canvas | Support for the oil painting. | Primed linen or cotton canvas |
preparation
surface prep
The canvas should be prepared with a ground suitable for oil painting. While specific priming details for this exact canvas are not in the sources, Gauguin’s practice involved working on standard supports of the period. The surface must be dry and ready to accept oil layers.
underdrawing
Gauguin’s style evolved towards Cloisonnism, which involves 'flat areas of colour and bold outlines' (Source 4). While specific underdrawing methods for *Farm in Brittany* are not detailed, his general practice involved emphasizing 'major forms and upright lines to clearly define shape and contour' (Source 3). The artist likely sketched the major structural lines of the farm and landscape to establish the 'compositional austerity' influenced by Japanese prints (Source 3).
underpainting
The recreation should employ a grisaille (monochrome) underpainting. The artist must 'mentally extract the red and yellow colours, and translating what would be left in nature, if these two colours were not present' (Source 1). This initial layer should be executed in oil using black, ultramarine, and white, potentially with oil of copavia as a medium, as described in historical methods relevant to this era (Source 1). This layer establishes the tonal structure without color interference.
color palette
Ultramarine/Blue-Grey
Ultramarine, White, Black
Initial grisaille underpainting to establish tone and form.
Red and Yellow Tones
Red ochre, Yellow ochre, or similar earth tones
Glazing and scumbling over the dry grisaille to introduce color, as these were 'extracted' in the first step.
Flat Local Colors
Pure pigments mixed minimally
Creating 'flat areas of colour' consistent with Cloisonnism and Synthetism.
composition
The composition likely features 'major forms and upright lines' to define the farm structures and landscape elements (Source 3). Gauguin sought 'compositional austerity' and 'naivety' in his figures and forms, influenced by Japanese prints (Source 3). The arrangement is 'carefully considered and calculated in advance' to create harmony rather than realistic perspective (Source 3). Classical perspective is likely minimized or eliminated, consistent with his rejection of 'subtle gradations of colour' and post-Renaissance principles (Source 4).
step by step
underpainting→first pass→drying→refining→finishing
underpainting
step 01
Create a grisaille underpainting using only black, ultramarine, and white. Mentally exclude red and yellow tones from the scene, painting only the tonal values that would remain if those colors were absent.
Tip — Ensure the tonal contrast is sufficient to support the final image, as color will be added later.
Grisaille
first pass
step 03
Apply red and yellow tones using glazing and scumbling techniques. Glaze with transparent oil color; scumble with semi-opaque paint to allow the underlying grisaille to show through, creating a 'grey bloom' or coldness where desired.
Tip — Treat the color application like tinting an engraving with watercolors, building up intensity gradually.
Glazing and Scumbling
drying
step 02
Allow the grisaille layer to dry completely. This is critical before applying transparent or semi-opaque color layers.
Tip — Rushing this step can cause cracking or muddying of the subsequent glazes.
Layering
refining
step 04
Refine the flat areas of color and bold outlines. Eliminate subtle gradations of color to achieve the Cloisonnist/Synthetist look. Ensure forms are defined by contour rather than shading.
Tip — Focus on the 'independent existence' of the color fields rather than realistic modeling.
Cloisonnism/Synthetism
finishing
step 05
Review the composition for harmonic balance. Ensure the arrangement of lines and colors creates a 'symphony' that stimulates the imagination, rather than a direct representation of reality.
Tip — Check that the 'major forms' are clearly defined and the color harmony is achieved through juxtaposition rather than mixing.
Synthetism
critical techniques
Glazing and Scumbling
Used to apply red and yellow tones over a dry grisaille. Glazing is a transparent coat; scumbling is semi-opaque, allowing the underpainting to show through and create tonal complexity.
Cloisonnism
Characterized by flat areas of pure color separated by heavy black outlines, reducing the image to its essential forms and eliminating subtle gradations.
Synthetism
A style where neither form nor color predominates, but each has an equal role. The work is calculated to create harmony and stimulate the imagination like music.
common pitfalls
- →Attempting to mix colors on the palette to achieve naturalistic shading, which contradicts Gauguin’s use of flat, non-representational color.
- →Applying glazes before the underpainting is completely dry, leading to muddiness.
- →Focusing on realistic perspective and subtle tonal gradations, which Gauguin explicitly eliminated in favor of bold outlines and flat color.
- →Using too much white or black to adjust value, which can shift hues undesirably; instead, use complementary colors or the underlying grisaille for tonal variation.
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.
- ·The specific pigments used for the red and yellow tones in *Farm in Brittany* are not identified in the sources.
- ·The exact composition of the farm (e.g., number of buildings, specific landscape features) is not described in the sources, so the artist must rely on general knowledge of Gauguin’s Brittany period or the actual painting if available.
- ·The specific medium ratio (oil to varnish) for the glazing stage is not detailed, though 'oil at first' and 'varnish and oil mixed' later is suggested.
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/scumbling techniques
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Paul Gauguin↗
- part 25 — applied to Synthetism, color harmony, and compositional intent
- part 6 — applied to Cloisonnism and rejection of classical perspective
Read more about the corpus on the sources page and how the guides are built on the methods page.
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