plate no. 6361
Flowers in a Turquoise Vase
Odilon Redon, 1912
recreation guide
Odilon Redon’s *Flowers in a Turquoise Vase* (1912) represents the artist’s mature shift toward lyrical chromatics and bright coloration, a departure from the dark, fantastical charcoal works of his early career (Source 3). While the artwork is categorized under Realism in the prompt, Redon’s practice is historically defined by Symbolism and a desire to place 'the logic of the visible at the service of the invisible' (Source 2). In this late period, Redon utilized oil painting to explore 'endless possibilities of lyrical chromatics,' often depicting uncommon or imaginary species released from strict stylized naturalism (Source 3). The work likely employs the layering capabilities of oil paint to achieve rich, dense color and a wide range of light to dark values, consistent with the medium's advantages (Source 6).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Yellow, Red tones) | Primary pigments for underpainting and glazing | Standard tube oil paints |
| Linseed oil or Oil of Copavia | Medium for binding pigments and creating transparent glazes | Stand oil or refined linseed oil |
| Turpentine | Thinner for initial washes and cleaning | Odorless mineral spirits |
| Canvas | Support for the oil painting | Linen or cotton canvas primed with gesso |
| Varnish | Mixed with oil for later glazing stages to increase transparency and flow | Dammar varnish or synthetic resin varnish |
preparation
surface prep
Prepare a standard oil-primed canvas. While Redon’s specific ground preparation for this 1912 work is not detailed in the sources, the general practice of oil painting involves a stable, absorbent ground to allow for layering (Source 6). If employing the grisaille method described in historical texts associated with old masters, a neutral or monochrome ground may be beneficial, but a standard white or off-white gesso is acceptable for modern recreation.
underdrawing
Redon’s process involved a tension between observing 'the smallest accidents of its visual appearance' and letting 'imagination' run through the recollection of forms (Source 2). For this flower painting, begin with a loose, expressive underdrawing that captures the 'character as simply as possible' rather than botanical correctness (Source 4). Avoid confusing detail in the initial sketch; focus on the arrangement of lines and spaces to form a beautiful whole (Source 4).
underpainting
Consider employing a grisaille (monochrome underpainting) technique. Historical practice suggests mentally extracting red and yellow colors to establish the form and value structure first (Source 1). This underpainting should be allowed to dry completely before proceeding to color glazes. This method aligns with the 'old masters' approach cited in the sources, which Redon’s contemporaries and predecessors utilized to build depth (Source 1).
color palette
Turquoise/Blue-Green
Ultramarine and White, potentially mixed with Yellow for greenish tones
The vase, as indicated by the title. Redon’s later work is noted for bright colors and lyrical chromatics (Source 3).
Red and Yellow tones
Transparent red and yellow pigments
Glazing over the dried grisaille to introduce warmth and color, as per the glazing technique described (Source 1).
Black and White
Black and White pigments
Establishing the monochrome underpainting (grisaille) and adjusting values (Source 1).
Complementary Colors
Pairs such as Blue-Orange or Red-Green
Creating visual tension and harmony in the floral arrangement, consistent with color theory principles (Source 5, Source 7).
composition
The composition should avoid exact bisections of the picture space and ensure the prominent subject (the flowers/vase) is off-center to create balance with smaller satellite elements (Source 8). The arrangement must form an 'irregular pattern of lines and spaces' rather than a mere botanical record (Source 4). Ensure that no spaces between objects are identical to create visual interest (Source 8). The viewer’s eye should be led around all elements before leading out of the picture (Source 8).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the flower arrangement loosely, focusing on the 'line-scheme' and avoiding botanical detail. Ensure the main lines cut the space effectively.
Tip — Do not aim for a 'picture of a flower' but rather a design of lines and spaces (Source 4).
Line Composition
underpainting
step 02
Apply a monochrome grisaille using black, ultramarine, and white (or similar neutral tones) to establish values. Mentally extract red and yellow colors at this stage.
Tip — Ensure this layer is completely dry before proceeding (Source 1).
Grisaille
first pass
step 03
Begin glazing with oil. Apply transparent coats of yellow and red tones over the dried grisaille, similar to tinting an engraving with watercolors.
Tip — Glazing is a transparent coat of color that allows the underlying painting to show through (Source 1).
Glazing
refining
step 04
Use scumbling (semi-opaque painting) over darker grounds if a 'grey bloom' or coldness is desired. Mix varnish and oil for greater mastery and transparency in later layers.
Tip — Scumbling tends to coldness when employed over a darker ground (Source 1).
Scumbling and Varnish Glazing
finishing
step 05
Refine the 'lyrical chromatics' and bright colors characteristic of Redon’s later flower paintings. Ensure the composition balances detail with 'rest' areas.
Tip — Use complementary colors to create contrast and visual tension (Source 5, Source 7).
Color Harmony
critical techniques
Glazing
Applying transparent coats of color over a dried monochrome underpainting to build depth and luminosity, a method practiced by old masters and described in historical texts (Source 1).
Scumbling
Using semi-opaque paint to allow the underlying layer to show through, often creating a grey bloom or cold effect over dark grounds (Source 1).
Lyrical Chromatics
Using bright colors and uncommon species to release the work from stylized naturalism, a hallmark of Redon’s later career (Source 3).
common pitfalls
- →Focusing too much on botanical correctness rather than the arrangement of lines and spaces (Source 4).
- →Applying glazes before the underpainting is completely dry, which can ruin the monochrome foundation (Source 1).
- →Creating exact bisections in the composition, which should be avoided to maintain visual interest (Source 8).
- →Ignoring the 'rest' areas in the composition, which are necessary to guide the viewer's eye (Source 8).
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 by Redon for the 'Turquoise' vase are not detailed in the sources; modern equivalents are inferred.
- ·The exact dimensions and aspect ratio of the canvas are not provided.
- ·Redon’s specific brushwork style for this oil painting is not described in detail, only his general shift to bright colors.
- ·The specific 'uncommon or imaginary species' of flowers depicted are not identified in the text.
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
Composition — FLOWER COMPOSITIONS TWO VALUES↗
- EXERCISE — applied to Compositional principles for flower arrangements
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Odilon Redon↗
- part 3 — applied to Artist’s creative process and use of imagination vs. observation
- part 4 — applied to Late career style, bright colors, and lyrical chromatics
Wikipedia: Complementary colors↗
- Complementary colors — applied to Color theory and contrast
Wikipedia: Oil painting↗
- Oil painting — applied to General materials and advantages of oil medium
Wikipedia: Harmony (color)↗
- Harmony (color) — applied to Color harmony principles
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — applied to General composition rules (bisection, focus, eye movement)
Read more about the corpus on the sources page and how the guides are built on the methods page.
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