plate no. 8618

Girl in a Japanese Kimono

oilImpressionismportraitportraitfigurekimonowomanclothingface

recreation guide

William Merritt Chase’s 'Girl in a Japanese Kimono' is a quintessential example of his Impressionist portraiture, characterized by a 'noble sense of color' and a focus on capturing the 'inner essence' of the subject rather than mere photographic realism (Source 6, Source 7). Chase, a prominent teacher and exponent of American Impressionism, often employed a loosely brushed style developed during his training in Munich under Karl von Piloty (Source 4). His studio practice was known for its flamboyance and incorporation of exotic objects, such as oriental carpets and decorative items, which likely informed the setting and props in this portrait (Source 5). The work reflects his fluency in oil painting and his ability to render subtle flesh tones and powerful masses of color, such as the kimono’s fabric (Source 6).

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (Lead White or Titanium White substitute)	Primary pigment for highlights and mixing; historically, Lead White was dominant for its opacity and fast drying (Source 2).	Titanium White or Zinc White (non-toxic alternatives)
Linseed Oil	General purpose drying oil for mixing paints and glazing (Source 2).	Refined Linseed Oil
Ultramarine and Black	Key pigments for the initial monochrome underpainting (grisaille) as described in traditional oil painting practices (Source 1).	Ultramarine Blue and Ivory Black
Red and Yellow pigments	Used for glazing and scumbling to introduce color tones over the dry underpainting (Source 1).	Cadmium Red/Yellow or Alizarin/Cadmium mixes
Canvas or Linen support	Standard support for oil painting; linen is historically common (Source 2).	Primed Linen or Canvas
Varnish (optional for glazing)	Mixed with oil for advanced glazing techniques to gain mastery over transparent coats (Source 1).	Dammar Varnish or Galkyd

preparation

surface prep

Prepare a standard oil-primed canvas or linen. While specific ground preparation for this exact painting is not detailed in the sources, Chase’s training in Munich and adherence to old master techniques suggest a traditional white or neutral ground to allow for the 'glazing and scumbling' methods described in Source 1. Ensure the surface is smooth enough to support fine brushwork but textured enough to hold the 'loosely brushed style' characteristic of his Munich period (Source 4).

underdrawing

Chase’s preparatory methods are not explicitly detailed in the provided sources. However, given his emphasis on being a 'sound craftsman' and the advice to copy works to learn the 'alphabet of our art' (Source 8), a light, loose underdrawing is likely. Avoid rigid outlines, as Chase’s style favored broad masses over timid adherence to outline (Source 8).

underpainting

Employ a grisaille (monochrome) underpainting using black, ultramarine, and white. This technique involves mentally extracting red and yellow colors to establish values and forms first (Source 1). This aligns with the method described by Sir Joshua Reynolds, which Chase’s contemporaries and predecessors respected (Source 1). Allow this layer to dry completely before proceeding.

color palette

White

Lead White (historically) or Titanium White

Highlights and mixing; essential for the 'subtle elusive tints of flesh' (Source 6).

Ultramarine

Ultramarine Blue

Underpainting and cool shadows; part of the initial monochrome scheme (Source 1).

Black

Ivory Black or Lamp Black

Underpainting and defining dark masses (Source 1).

Red/Yellow Tones

Various reds and yellows

Glazing and scumbling to introduce warmth and color over the grisaille, particularly for the kimono and flesh tones (Source 1).

composition

The composition likely features the subject in a pose that conveys character rather than just likeness, consistent with Chase’s goal to 'seize character' in portraiture (Source 6). While specific poses are not described for this painting, Chase often depicted his family and students in domestic or studio settings with a focus on the 'inner significance' of the subject (Source 7). The background may include elements from his lavish studio, such as oriental carpets or decorative objects, reflecting his known practice (Source 5).

step by step

underpainting→first pass→refining→finishing→varnishing

underpainting

step 01
Create a grisaille underpainting using only black, ultramarine, and white. Focus on establishing the correct values and forms of the figure and kimono, mentally excluding red and yellow hues.
Tip — Ensure the underpainting is quite dry before proceeding to avoid muddying the colors.
Grisaille

first pass

step 02
Begin glazing and scumbling with oil. Apply transparent coats of red and yellow tones over the dry grisaille, similar to tinting an engraving with watercolors.
Tip — Glazing involves a transparent coat of color; observe how the underlying painting shows through.
Glazing

refining

step 03
Use scumbling (semi-opaque painting) to adjust tones and textures. This technique allows the underlying painting to make itself felt, creating a 'grey bloom' or coldness if used over darker grounds.
Tip — Be cautious with scumbling over dark areas as it can tend toward coldness.
Scumbling

finishing

step 04
Refine the flesh tones and the kimono’s fabric using Chase’s 'loosely brushed style.' Focus on capturing the 'noble sense of color' and the character of the subject rather than minute details.
Tip — Avoid over-modeling; Chase’s style favored broad masses and character over photographic realism.
Impressionist Brushwork

varnishing

step 05
Once the painting is fully dry, apply a varnish if desired. Advanced practitioners may mix varnish with oil for final glazing adjustments.
Tip — Ensure the painting is completely dry to prevent cracking or discoloration.
Varnishing

critical techniques

Glazing and Scumbling

Used to build color and depth over a monochrome underpainting. Glazing applies transparent color, while scumbling applies semi-opaque color, allowing the underlayer to show through (Source 1).

Grisaille Underpainting

Establishing values and forms using only black, ultramarine, and white before introducing color. This method was practiced by old masters and respected by artists like Reynolds (Source 1).

Loose Brushwork

Chase’s style, influenced by his Munich training, favored broad, loose brushstrokes to capture the essence and character of the subject rather than fine detail (Source 4, Source 6).

common pitfalls

→Over-modeling or being too tied down to outlines, which Chase’s contemporaries advised against (Source 8).
→Using scumbling over dark grounds without caution, as it can lead to unwanted coldness or a 'grey bloom' (Source 1).
→Focusing on literal likeness rather than character, which contradicts the aim of great portraiture as described by Burne-Jones and Aristotle (Source 7).
→Applying color before the underpainting is dry, which can ruin the glazing effect (Source 1).

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 details of the kimono’s pattern or color are not described in the sources, so the artist must infer or choose appropriate colors based on general Impressionist practices.
·The exact pose and facial expression of the 'Girl' are not detailed in the sources, requiring the artist to rely on general portraiture principles or reference images.
·Chase’s specific pigment choices for this painting are not listed, so the palette is inferred from general oil painting practices and his known style.
·The background setting is not explicitly described, though Chase’s studio contents are mentioned as a likely influence (Source 5).

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, glazing, and scumbling techniques
- ON COPYING — applied to Advice on avoiding over-modeling and rigid outlines

cross-referenced from

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

Wikipedia: Oil painting↗
- Oil painting — part 4 — applied to Materials and pigment characteristics
Wikipedia bio — William Merritt Chase↗
- part 1 — applied to Chase’s training and loose brushwork style
- part 3 — applied to Studio setting and exotic objects
- part 4 — applied to Color sense and portraiture goals
Wikipedia: Portrait painting↗
- Portrait painting — part 2 — applied to Character vs. likeness in portraiture