plate no. 8618

Girl in a Japanese Kimono

oilImpressionismportraitportraitfigurekimonowomanclothingface

what to study here

It shows how one portrait can vary finish between face, fabric, hair and background while keeping a clear value hierarchy and a restrained palette.

Study how the value structure carries this portrait. The face is the lightest mass, the kimono sits in the middle range, and the hair and background form a dark envelope. The face does not rely on harsh contrast to hold the eye; the separation is controlled. Look at the background too: it is a warm brown with subtle shifts, not a flat tone, and its active strokes stay subordinate to the figure. Then compare the handling across the picture. The face is blended but never slick, with soft edges. The hair is loose dark scumbles that suggest form without strands. The red and yellow floral marks sit directly on the muted blue-grey kimono with minimal blending. The kimono blue is dusty and warm-grey, not saturated, which lets the red-orange obi work as a secondary accent that keeps the lower body from sinking into the background. Notice the downward, leftward gaze and the tilt of the head, which set the path of the eye from face to kimono pattern to background.

key decision

Chase kept the kimono body a muted, dusty blue-grey and put pure red and yellow only in the decorative marks and obi. This keeps the warm face and the obi as the main color notes.

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

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

A three-quarter portrait of a young woman with dark hair, gazing downward and to the left, positioned slightly off-center. Light source from the left-front illuminates her face and the front plane of her blue-grey kimono, creating warm peachy tones on her skin and sharp value separation between the glowing face and the cool, muted background. The bright red-orange obi at her waist becomes a secondary focal point, anchoring the composition. Her head tilts with elegant restraint; the eye enters at her face, then travels across the decorative red and yellow floral motifs on the kimono before settling on the warm, earthy brown background that envelops the figure.

value structure

Three distinct value zones: the face and neck read as the lightest mass (high-key), the kimono occupies the middle value range with soft gradations from grey-blue to warmer tones, and the background and hair form a dark envelope. Squinting reveals that the background is never uniform—it's a complex warm brown with subtle shifts that keep it from flattening. The obi introduces a mid-dark warm accent that prevents the lower body from disappearing into the background. The face gains presence through controlled value separation, not high contrast.

observed palette and mixes

#d0ac85
Titanium white + raw sienna + cadmium yellow light
Illuminated forehead, cheekbone, and highlights on the face; brightest passages of the kimono fabric
#a88973
Cadmium red light + cadmium yellow + titanium white
Mid-tone flesh on face, neck, and jawline; the warmer areas of the kimono
#714d37
Raw umber + ultramarine blue + touch of burnt sienna
The darkest parts of the hair, deep shadows on the right side of face and neck, the darkest background areas
#885239
Raw umber + ultramarine blue
Mid-tone background throughout, general shadowed areas of the kimono
#50352c
Burnt umber + ultramarine blue (very dark)
The hair mass, deepest shadows where the hair meets the face and neck
Muted blue-grey (kimono)
Ultramarine blue + titanium white + raw umber (small amount)
The body of the kimono; notice it's not bright but dusty and warm-grey
Red-orange obi
Cadmium red light + cadmium yellow (bright, unsoftened)
The obi (waist sash) wrapping around the torso
Red and yellow accents (kimono)
Cadmium red light and cadmium yellow applied directly as decorative marks
The floral motifs painted across the kimono front

edges and brushwork

Chase uses visible, gestural strokes throughout—the hair is rendered with loose, dark scumbles that suggest form without defining individual strands. The kimono decoration is painted with confident, abbreviated marks: red and yellow strokes sit directly atop the blue-grey fabric with minimal blending, creating liveliness and pattern. The face is treated more carefully but still impressionistically; edges are soft and painterly rather than hard, with flesh tones blended but never slicked smooth. The background is loosely brushed with warm, active strokes that echo the figure's contour but remain subordinate.

a working sequence

01
Lay in the background
Mix raw umber as your base, then add ultramarine blue to create a warm, muted brown. Apply this across the entire canvas with loose, horizontal strokes. Vary the mixture slightly—use more umber in some areas, more blue in others—so the background doesn't read as flat. This neutral space will make your figure sing.
02
Block in the head and neck
Using a loaded brush, establish the silhouette of the head with a mid-dark mixture (raw umber + ultramarine). Don't worry about features yet. Indicate the neck as a simple vertical plane. Notice how the head tilts slightly; capture that angle now. Leave the face area unpainted—it will be lighter, so the negative space helps you see proportions.
03
Paint the face masses with flesh tones
Mix your lightest flesh tone (white + raw sienna + tiny cadmium yellow). Block in the illuminated side of the face—forehead, cheekbone, the front of the nose. Then mix a warmer, slightly darker tone (add a touch of cadmium red light to the first mixture) for the halftone areas of the cheek and jawline. Keep edges soft; these shapes should blend into the shadows, not sit as flat shapes.
04
Establish facial shadows and features
Now the turning edge: mix a cooler, darker tone (the light flesh mix + raw umber + ultramarine blue) for the shadow side of the face (the right side facing away). Notice how this shadow wraps around under the jawline and up the right side of the forehead. Place the eyes simply—they're looking down and to the left. Add a warm red-brown stroke for the lips. Don't overstate features; suggest rather than render.
05
Paint the kimono body and basic shape
Mix the muted blue-grey (ultramarine + white + small amount of raw umber). This should feel dusty, not bright. Block in the entire kimono shape, showing how the fabric wraps the torso. Notice the fold lines and the way the fabric catches light differently on the front—keep some areas slightly lighter by adding more white. The color shifts subtly from cooler to warmer as it recedes or catches light.
06
Add the kimono decoration
Mix cadmium red light and cadmium yellow separately (keep them relatively pure). Using a round or smaller flat brush, paint the red and yellow floral motifs across the kimono with direct, confident strokes. These marks sit on top of the blue-grey base; don't blend them in. You'll see red maple leaves and yellow grasses—let them overlap and cross. This is where the painting becomes lively; don't timid it.
07
Paint the obi (waist sash)
Mix a bright, unsoftened red-orange (cadmium red light + touch of cadmium yellow, minimal white). Paint this band wrapping around the waist as a warm accent that anchors the lower half. Notice how it's darker and warmer than the face, drawing attention without competing. The obi sits between the lighter kimono above and the environment below—crucial for composition.
08
Refine edges and final relationships
Step back. Check that your darkest darks (hair, deepest background shadows) read as truly dark—add more ultramarine or burnt umber if needed. Verify that the face glows against the background; if not, slightly lighten the face or darken the background locally. Soften edges where the head meets background using dry brush or light scumbling. Add any final touches to the obi's edge where it meets the kimono fabric. Let visible brushstrokes breathe; don't overwork.

where studies of this painting go wrong

Making the face too pale or too pink—the flesh tones are warm and earthy, not bright or cool. Losing that warmth flattens the portrait.
Overworking the face with detail and tight edges while keeping the kimono loose. Chase modulates his finish level, but the face shouldn't look photographic by comparison.
Rendering the kimono's blue-grey as a bright, saturated blue instead of a muted, dusty tone with warm undertones. This kills the painting's elegant restraint.
Missing the head's tilt and making the figure too frontal or stiff. The subtle turn of the head is essential to the pose's personality.
Applying the decorative red and yellow strokes with timidity or over-blending them. These marks must be bold and opaque, sitting visibly atop the kimono fabric.
Allowing the background to become a dead, uniform brown. Vary it subtly; it should be alive with brushwork even though it recedes.

measured difficulty