plate no. 7391

Houses in Buitrago

Carlos Saenz de Tejada, 1920

oilCloisonnismgenre paintingbuildingsfiguresboatsstreetharborsails

recreation guide

Houses in Buitrago (1920) by Carlos Saenz de Tejada is a genre painting executed in oil, characterized by the stylistic conventions of Cloisonnism. This style typically involves bold, dark outlines separating areas of flat, unmodulated color, creating a decorative effect reminiscent of stained glass or enamel work. As a genre painting, the work likely depicts scenes of everyday life or ordinary people engaged in common activities, focusing on the 'reality effect' of quotidian existence rather than specific historical or portrait identities (Source 4, Source 6). The composition relies on the organization of visual elements such as line, shape, and color to structure the scene, where the line serves as the visual path guiding the eye through the piece (Source 5).

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (pigment + drying oil)	Primary medium for the painting	—
Linseed oil	General purpose drying oil for mixing paints and glazing	—
Safflower or Poppyseed oil	Mixing lighter colors like white to prevent yellowing	—
Canvas or linen support	Surface for painting	—
Varnish	For glazing and finishing, mixed with oil for mastery-level transparency	—
Charcoal or graphite	Underdrawing to establish composition and lines	—

preparation

surface prep

Prepare a linen or canvas support, which is a traditional support for oil painting derived from the flax plant (Source 3). Apply a ground suitable for oil painting. While specific priming methods for Saenz de Tejada are not detailed in the sources, traditional oil painting practice often involves a white or neutral ground to allow for the full range of color values. Ensure the surface is dry before beginning the underdrawing.

underdrawing

Begin with a clear underdrawing to establish the composition. In Cloisonnism, the line is a critical element of design that defines shapes and guides the viewer's eye (Source 5). Draw the outlines of the houses and figures with precision, as these lines will likely serve as the 'cloisons' (partitions) that separate color fields. The drawing should be confident, as the style relies on distinct separation of forms.

underpainting

Consider using a monochrome underpainting (grisaille) to establish values before applying color. This technique involves painting the composition in a single color (often grey or brown) to determine light and shadow, mentally extracting red and yellow tones to focus on structure (Source 1). This step is crucial for ensuring that the final color application has a solid tonal foundation, especially when using transparent glazes later.

color palette

White

Lead white (historical) or Titanium Zinc (modern)

Highlights and light areas; historically, lead white was valued for opacity and fast drying, but modern equivalents are safer (Source 3)

Red and Yellow tones

Vermilion, Cadmium Red, Yellow Ochre, Cadmium Yellow

Glazing and scumbling over the grisaille to add warmth and local color, as these tones are often extracted in the monochrome stage (Source 1)

Blue and Black

Ultramarine, Carbon Black

Establishing shadows and dark outlines; Reynolds noted using black, ultramarine, and white for initial paintings (Source 1)

Green

Viridian, Sap Green

Vegetation or background elements, mixed to achieve the desired flat, decorative tone characteristic of Cloisonnism

composition

The composition should emphasize the organization of visual elements, particularly line and shape. In Cloisonnism, the line is not just a contour but a structural element that defines the space (Source 5). The arrangement of houses and figures should create a balanced visual order, avoiding realistic perspective in favor of a more decorative, flattened space. The juxtaposition of colors should be considered carefully, as simultaneous contrast can affect the perceived tone and intensity of adjacent colors (Source 2).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the composition with charcoal, focusing on bold, clear outlines that define the shapes of the houses and figures.
Tip — Ensure lines are confident and distinct, as they will serve as the boundaries for color fields.
Line as element of design

underpainting

step 02
Apply a grisaille underpainting using black, ultramarine, and white to establish values and forms. Mentally extract red and yellow tones to focus on structure.
Tip — Allow the grisaille to dry completely before proceeding to color application.
Monochrome underpainting

first pass

step 03
Begin applying flat areas of color within the outlined shapes. Use opaque paint for the base layers, ensuring even coverage.
Tip — Avoid blending within the shapes to maintain the Cloisonnist aesthetic.
Flat color application

refining

step 04
Glaze and scumble with oil to add depth and variation. Glazing involves applying a transparent coat of color, while scumbling uses semi-opaque paint to allow the underlying layer to show through.
Tip — Use red and yellow tones for glazing to warm up the composition, as suggested by the practice of extracting these colors in the grisaille stage.
Glazing and Scumbling

finishing

step 05
Adjust contrasts and harmonize colors. Pay attention to the simultaneous contrast of colors, where juxtaposed tones can enfeeble or heighten each other.
Tip — Ensure that the colors inherent to the objects (e.g., flesh tones, house colors) are harmonized with the chosen palette.
Simultaneous Contrast

varnishing

step 06
Apply a final varnish to protect the painting and enhance the depth of the glazes.
Tip — Use a varnish mixed with oil for a more controlled application, as recommended for advanced painters.
Varnishing

critical techniques

Glazing and Scumbling

Used to add transparency and depth over a dry monochrome underpainting. Glazing applies transparent color, while scumbling uses semi-opaque paint to reveal the underlying layer.

Simultaneous Contrast

Considered when placing colors next to each other to avoid unintended tonal shifts. Juxtaposed colors can enfeeble or heighten each other, affecting the overall harmony.

Line as Structural Element

In Cloisonnism, bold outlines define shapes and guide the viewer's eye, serving as a key compositional tool.

common pitfalls

→Blending colors within shapes, which destroys the flat, decorative quality of Cloisonnism.
→Applying glazes before the underpainting is completely dry, leading to muddiness.
→Ignoring simultaneous contrast, resulting in colors that appear dull or distorted due to adjacent hues.
→Using linseed oil for white paints, which can yellow over time; use safflower or poppyseed oil for lighter colors (Source 3).

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 houses and figures in 'Houses in Buitrago' are not described in the sources, so the composition must be inferred from general Cloisonnist principles.
·Carlos Saenz de Tejada's specific palette preferences are not detailed, so standard oil painting pigments are recommended.
·The exact medium ratios (oil to pigment) used by the artist are unknown, so general best practices for oil painting are applied.

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 and glazing techniques
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color harmony and contrast

cross-referenced from

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

Wikipedia: Oil painting↗
- part 4 — applied to Materials and pigment properties
Wikipedia: Genre painting↗
- part 1 — applied to Genre painting characteristics
Wikipedia: Composition (visual arts)↗
- part 1 — applied to Compositional elements