plate no. 6615
Girl in a Fur, Mademoiselle Jeanne Fontaine
recreation guide
Henri de Toulouse-Lautrec’s 'Girl in a Fur, Mademoiselle Jeanne Fontaine' (1891) is a quintessential example of his Post-Impressionist portraiture, characterized by a focus on the bohemian lifestyle of late 19th-century Paris (Source 8). The work is executed in oil on board, a medium that allows for the 'richer and denser color' and 'greater flexibility' associated with oil painting techniques of the period (Source 3). Lautrec’s style often involved capturing the 'emotional significance' of the subject rather than strict scientific accuracy, prioritizing the vivid presentation of form and character over commonplace appearance (Source 7). The painting likely employs principles of simultaneous contrast to harmonize the inherent colors of the flesh and fur with the chosen background and drapery, ensuring that the juxtaposition of tones creates a true gradation of light and depth (Source 1, Source 2).
estimated time
20-30 hours over 5-7 sessions
materials
6 items
steps
7 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (various pigments) | Primary medium for creating the image, allowing for layering and rich color density. | High-quality artist-grade oil paints (e.g., cadmiums, earths, whites). |
| Wood board or panel | Support surface, consistent with Lautrec’s frequent use of board for smaller works and posters. | MDF board or rigid wood panel, primed. |
| Linseed oil or poppy seed oil | Binder for the pigments; linseed for general use, poppy for lighter tones to prevent yellowing. | Refined linseed oil, cold-pressed poppy oil. |
| Turpentine or odorless mineral spirits | Thinner for initial layers and cleaning brushes. | Odorless mineral spirits (OMS) or Gamsol. |
| Charcoal or graphite | Underdrawing to establish form and composition. | Vine charcoal or soft graphite pencils. |
| Gesso or oil ground | To prepare the board surface for oil paint adhesion. | Acrylic gesso or traditional rabbit-skin glue and chalk ground. |
preparation
surface prep
The artwork is on board, which requires a stable, non-absorbent ground. Lautrec often worked on wood panels. Prepare the board by sealing it with a size (such as rabbit-skin glue or acrylic medium) to prevent the wood acids from degrading the paint, then apply multiple layers of gesso or an oil-based ground (white lead and linseed oil historically) to create a smooth, slightly absorbent surface suitable for the 'richer and denser color' of oil paints (Source 3). Ensure the surface is sanded smooth between coats to allow for the fine detail Lautrec is known for.
underdrawing
Lautrec was a skilled draughtsman and caricaturist. Begin with a light underdrawing using charcoal or thinned oil paint to establish the proportions and key contours of the figure. Focus on the 'emotional significance' of the pose and expression rather than rigid anatomical precision, as artistic accuracy demands recording the sensations produced by the subject (Source 7). The drawing should be loose enough to allow for the spontaneous adjustments Lautrec likely made, but firm enough to guide the placement of the fur and facial features.
underpainting
Apply a thin, monochromatic or limited-color underpainting (imprimatura) to establish the general tonal values. This step helps in 'perceiving and imitating promptly and surely the modifications of the light on the model' (Source 2). Use a neutral tone, such as raw umber or gray, to block in the shadows and mid-tones. This layer will help in judging the 'modifications of tone and of colour which they receive from contiguous colours' (Source 2).
color palette
Flesh tones
Lead white, vermilion, yellow ochre, and a touch of blue for shadows.
The face and hands of Mademoiselle Fontaine. These colors are 'fixed by the model' and must be harmonized with the surrounding elements (Source 1).
Fur tones
Burnt umber, raw sienna, black, and white.
The fur garment. The texture and value contrast are critical here.
Background/Draperies
Various earths, blues, or greens depending on the specific version, but likely complementary to the flesh tones.
The background and clothing. The artist has a 'choice of draperies, ornaments, background' to harmonize the composition (Source 1).
Highlights
Pure white or very pale tint.
Catchlights in the eyes and highlights on the fur.
composition
While specific compositional details of this exact painting are not described in the sources, Lautrec’s portraits typically feature a direct, engaging gaze and a cropped composition that focuses on the subject’s personality. The arrangement likely utilizes the 'law of simultaneous contrast' to ensure that the flesh tones stand out against the darker fur and background. The 'lightest tone will be lowered, and the darkest tone will be heightened' by the juxtaposition, creating a dynamic visual tension (Source 2). The composition is likely designed to 'devote itself to great effects,' from which 'many small ones resulted' (Source 1).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the basic proportions of the head, shoulders, and fur collar using charcoal or thinned paint. Focus on the gesture and expression.
Tip — Keep lines light and flexible. Lautrec’s drawings were often expressive rather than rigidly accurate (Source 7).
Direct drawing
underpainting
step 02
Apply a thin wash of neutral tone to establish the major light and shadow areas. This helps in perceiving the 'modifications of the light on the model' (Source 2).
Tip — Do not worry about color yet; focus on value structure.
Imprimatura
first pass
step 03
Block in the local colors of the fur, skin, and background. Use broader brushstrokes to establish the 'broad masses' (Source 6).
Tip — Be mindful of the 'simultaneous contrast of colours'; the colors will appear different when placed next to each other (Source 2).
Blocking in
refining
step 04
Refine the flesh tones, paying attention to the 'modifications of tone and of colour which they receive from contiguous colours' (Source 2). Add detail to the eyes and mouth to capture the 'emotional significance' (Source 7).
Tip — Use the 'law of chiaroscuro' to enhance the gradation of light at the edges of the face against the fur (Source 1).
Glazing and scumbling
step 05
Work on the texture of the fur. Use varied brushwork to suggest the softness and volume. Lautrec often used loose, expressive strokes for textures.
Tip — Avoid over-modeling; Lautrec’s style is characterized by a balance of detail and suggestion (Source 6).
Impasto or dry brush
finishing
step 06
Adjust the contrasts and harmonize the colors. Ensure that the 'colours of a composition which are Inherent to the Nature of the Object represented' are balanced with the chosen background (Source 1).
Tip — Step back frequently to assess the overall effect and the 'simultaneous contrast' (Source 2).
Final adjustments
varnishing
step 07
Once the painting is completely dry (which may take months for oil on board), apply a varnish to protect the surface and unify the sheen.
Tip — Use a resin-based varnish, such as damar, to provide protection and enhance the depth of color (Source 3).
Varnishing
critical techniques
Simultaneous Contrast
Lautrec, like many Post-Impressionists, would have been aware of how adjacent colors affect each other. The 'lightest tone will be lowered, and the darkest tone will be heightened' by the juxtaposition, creating a more vibrant and dynamic image (Source 2).
Chiaroscuro
The use of light and shadow to create volume. 'Chiaro-scuro is produced' by the juxtaposition of different tones, leading to a 'true gradation of light' (Source 1).
Expressive Drawing
Lautrec’s drawing style was not about 'scientific accuracy' but about conveying the 'emotional significance' of the subject (Source 7).
common pitfalls
- →Over-modeling the details: Lautrec’s style is characterized by a balance of broad masses and selective detail. Avoid getting 'too much tied down to your outline' or 'over-modeling' (Source 6).
- →Ignoring color interaction: Failing to account for 'simultaneous contrast' can lead to muddy or dull colors. Remember that 'neither of them appears of the colour peculiar to it' when viewed together (Source 2).
- →Using inappropriate materials: Ensure the oil paint is properly mixed with a drying oil to achieve the desired consistency and drying time (Source 3).
- →Scientific vs. Artistic Accuracy: Do not strive for photographic realism. Lautrec’s work is valued for its 'vivid manner' of presenting form, not its 'commonplace appearance' (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 pigment analysis of the original painting is not provided in the sources, so the exact color mixtures are inferred from general oil painting practices and Lautrec’s known palette.
- ·The exact brushwork techniques for the fur texture are not detailed in the sources, so general Post-Impressionist methods are suggested.
- ·The specific background color and composition details of 'Girl in a Fur' are not described in the provided text, so general compositional principles are applied.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Laws of Contrast of Colour↗
- Chapter on Chiaroscuro and Simultaneous Contrast — applied to Understanding how adjacent colors and tones interact to create depth and harmony (Source 1, Source 2).
The Practice of Oil Painting↗
- On Copying — applied to Advice on avoiding over-modeling and focusing on broad masses (Source 6).
The Practice and Science of Drawing↗
- From a Study by Botticelli — applied to Philosophy of artistic accuracy vs. scientific accuracy and emotional significance (Source 7).
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- Part 1 — applied to Information on oil paint properties, materials, and varnishing (Source 3).
Wikipedia: Henri de Toulouse-Lautrec↗
- Biography — applied to Context on Lautrec’s life, style, and use of board (Source 8).
Read more about the corpus on the sources page and how the guides are built on the methods page.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
related guides
