plate no. 0055
In the Omnibus
Honore Daumier, 1864
recreation guide
Honore Daumier’s 'In the Omnibus' (1864) is a quintessential example of 19th-century Realist genre painting, depicting ordinary people engaged in common activities within a public transport setting (Source 7). The work is executed in a mixed-media approach utilizing crayon, ink, and watercolor on paper, reflecting the complex style of painting that combines impastements, opacities, and transparencies (Source 1). Daumier’s practice often involved using washes for sketches, though by this period, the technique had evolved beyond simple neutral tints to include more varied color applications (Source 1). The artwork relies on the interplay of opaque crayon for structural definition and transparent watercolor washes for atmospheric depth, a method that allows for the unification of opacity and transparency within a single composition (Source 2).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| High-quality watercolor paper (linen rag) | Support for the mixed media; must be dry and properly sized to prevent staining and ensure color preservation. | Cold-pressed 100% cotton watercolor paper, acid-free. |
| Crayons (pastels) | To provide opaque, non-transparent structural lines and highlights; applied in a powdered state with minimal medium. | Soft pastels or oil pastels, depending on desired texture. |
| Watercolor paints (pigments ground with gum arabic) | To create transparent washes for shading and background tones, allowing the paper to show through for lights. | Professional grade tube watercolors. |
| Ink | For linear definition and contrast, likely used in conjunction with the crayon for sharp details. | India ink or drawing ink. |
| Gum arabic | Binder for watercolors and potentially for fixing crayon layers if necessary, though crayons are primarily held by mechanical adhesion to rough surfaces. | Liquid gum arabic solution. |
preparation
surface prep
The paper should be made from linen rags and bleached by pure water, air, and sunshine, avoiding chlorine which burns the linen and destroys colors (Source 1). The sizing must be evenly distributed in the paste, not just on the surface, to prevent irregular sponginess and stains during prolonged work (Source 1). The paper must be completely dry and free from dampness to prevent sizing fermentation (Source 1). For crayon application, the support should have a rough natural surface or be prepared with a layer of pumice stone to ensure mechanical adhesion of the powdered pigment (Source 2).
underdrawing
Daumier likely employed a direct approach using crayon or ink for the initial structural lines, as crayons are applied in a state of powder and rely on the tooth of the paper for adhesion (Source 2). Given the genre painting tradition of capturing narrative moments, the underdrawing would focus on the arrangement of figures and the 'center of interest' to guide the viewer's eye (Source 6). Specific preparatory sketches are not detailed in the sources, but the use of crayon suggests a drawing-first methodology where the line defines the form before washes are applied.
underpainting
In this mixed-media context, the 'underpainting' is effectively the crayon layer. Crayons are opaque and non-transparent, providing the foundational solidity and form (Source 2). This layer is applied before the transparent watercolor washes, which are then used to add depth and tone without obscuring the underlying structure entirely, unless opaque body colors are used (Source 2).
color palette
Neutral Tints / Earth Tones
Burnt Sienna, Raw Umber, Sepia
General shading and background washes, consistent with the historical use of neutral tints in watercolor sketches (Source 1).
Opaque Whites/Lights
Chinese White or reserved paper
Highlights and areas where the paper is reserved for lights, as is traditional in watercolor (Source 1, Source 8).
Dark Values
Black ink or dark crayon
Contrast and definition of figures and clothing, leveraging the law of simultaneous contrast to enhance visual impact (Source 5).
composition
The composition likely avoids exact bisections of the picture space and places the prominent subject off-center to create balance with smaller satellite elements (Source 6). As a genre painting, it depicts a narrative moment with multiple figures, requiring a center of interest to prevent the work from becoming merely a pattern (Source 6, Source 7). The arrangement of figures and the omnibus interior would be designed to lead the viewer's gaze around all elements before leading out of the picture (Source 6). Daumier’s Realist style focuses on ordinary people, so the composition emphasizes the social dynamics and spatial relationships within the confined space of the omnibus (Source 7).
step by step
underdrawing→first pass→refining→finishing→surfaceprep
underdrawing
step 02
Use crayons to sketch the main figures and the interior of the omnibus. Apply the crayon in a powdered state, relying on the rough surface for mechanical adhesion.
Tip — Crayons are opaque and non-transparent; use them to establish the solid forms and highlights (Source 2).
Crayon Drawing
first pass
step 03
Apply transparent watercolor washes to the background and shadow areas. Reserve the paper for the lights, as is traditional in watercolor technique.
Tip — The transparency of the color increases with the quantity of medium (water/gum); use this to create depth (Source 2).
Transparent Wash
refining
step 04
Layer additional washes or use opaque body colors (distemper) to deepen shadows and add solidity where needed. Mix processes to unite opacity and transparency.
Tip — Be aware that solidity will not be equal in all parts when mixing processes; crayon areas remain less solid than painted areas (Source 2).
Mixed Media Layering
finishing
step 05
Add final ink details for sharp contrast and definition. Ensure the composition guides the eye through the narrative elements.
Tip — Use contrast of tone and color to enhance the visual impact, devoting attention to great effects (Source 5).
Linear Definition
surfaceprep
step 01
Select high-quality linen rag paper, ensuring it is dry and properly sized. If the paper is too smooth, apply a light layer of pumice stone to create a tooth for crayon adhesion.
Tip — Ensure the paper has not suffered from dampness to avoid sizing decomposition (Source 1).
Surface Preparation
critical techniques
Mixed Media Integration
Combining opaque crayon (powdered pigment) with transparent watercolor washes. The crayon provides structure and opacity, while the wash adds transparency and tone. This allows for a complex style that includes both impastements and transparencies.
Reserving Lights
In watercolor, the paper is reserved for the lights. This is crucial for maintaining the luminosity of the highlights, especially when using transparent washes.
Simultaneous Contrast
Placing flat tints of different tones beside each other to produce chiaroscuro and enhance the gradation of light. This principle helps in harmonizing colors inherent to the object represented.
common pitfalls
- →Using paper that has been bleached with chlorine or other chemical agents, which can burn the linen and destroy the colors (Source 1).
- →Applying sizing only to the surface of the paper, which can wear out during prolonged work, revealing an irregularly spongy interior that causes stains (Source 1).
- →Attempting to fix crayons uniformly with varnish or other means, as the solidity of crayon areas (held by mechanical adhesion) differs from painted areas, making uniform fixing impossible (Source 2).
- →Overworking the watercolor washes, which can muddy the transparency and lose the shimmer of the paper (Source 8).
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 color choices for Daumier’s 'In the Omnibus' are not detailed in the sources; the palette is inferred from general watercolor practices and the artist’s realist style.
- ·The exact sequence of ink application relative to crayon and watercolor is not specified; it is assumed to be part of the refining or finishing stage.
- ·Daumier’s specific preparatory sketches for this work are not described, so the underdrawing process is generalized based on his use of crayon and ink.
- ·The specific narrative details or facial expressions of the figures in the omnibus are not described in the sources, so they are omitted from the instructions.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Science of Painting↗
- CHAPTER XIII. WATER COLOURS — applied to Paper preparation, sizing, and the nature of watercolor as a wash where paper is reserved for lights.
- CHAPTER XII. CRAYONS, DISTEMPERING, EGG-PAINTING, WATER BODY-COLOURS — applied to Crayon technique, opacity vs. transparency, and the mixing of processes.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Genre painting↗
- Genre painting — part 1 — applied to Understanding the subject matter as everyday life and ordinary people.
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 6 — applied to Compositional principles such as center of interest, avoiding bisection, and guiding the viewer's eye.
Wikipedia: Color theory↗
- Color theory — part 5 — applied to Principles of simultaneous contrast and chiaroscuro.
Wikipedia: Watercolor painting↗
- Watercolor painting — part 1 — applied to General watercolor techniques, transparency, and paper types.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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