Head of Pasquin

surface prep

The artwork is on a panel. Historically, panel painting involved preparing a flat wood panel, either single or joined, which was the normal method before canvas became dominant in the 16th century (Source 7). For a recreation, the panel should be sealed and primed to create a stable ground for the oil paint, consistent with the 'ground of acknowledged legitimate technique' described in the French School practice (Source 1).

underdrawing

Daumier’s specific preparatory drawing methods for this work are not detailed in the sources. However, as a realist painter who sought 'searching truthfulness' (Source 5), he likely employed a direct approach. The sources note that the 'linear construction of composition' is a key aspect to observe in such works (Source 1). It is likely that Daumier used a loose, expressive underdrawing to establish the likeness and character, rather than a rigid, academic grid.

underpainting

The sources do not specify Daumier’s underpainting technique for this specific work. However, the French School practice involves 'three or four main methods' with subtle variants (Source 1). It is likely that Daumier used a tonal underpainting to establish the 'massing of light and shade' (Source 1) before applying color, consistent with the realist emphasis on structure and volume.

Harmony of Contrast

Mixing colors with grey or using complementary tones to avoid monotony and bring out the color, especially in portrait painting (Source 2).

Expressive Use of Oil Paint

Using the 'vitality' of the medium to express feeling and truth, rather than merely creating an illusion of natural appearances (Source 4).

Realist Observation

Treating subjects with a critical point of view and seeking 'searching truthfulness' in the vision (Source 5).