plate no. 2261

Jealousy

oil, canvasExpressionismsymbolic paintingfiguretreesgardenportraitsymbolismfoliage

recreation guide

Edvard Munch’s *Jealousy* (1895) is a seminal work of Symbolism and early Expressionism, characterized by its psychological intensity rather than realistic depiction. Munch returned to this motif throughout his life, creating at least 11 painted versions, indicating a deep engagement with the theme of emotional turmoil and interpersonal tension (Source 3). The work is defined by Munch’s rejection of strict realism in favor of conveying inner states, influenced by his exposure to Paul Gauguin’s belief that art should not imitate nature but express human work and emotion (Source 4). The painting utilizes oil on canvas, a medium that allows for the rich, dense color and layered application necessary to achieve the atmospheric and symbolic effects Munch sought (Source 2).

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, Black, White, Red, Yellow earth tones)	Primary pigments for underpainting and glazing	Standard artist-grade oil paints
Linseed oil or Poppy seed oil	Binder and medium for glazing	Refined linseed oil or walnut oil for slower drying
Turpentine	Thinner for initial layers and cleaning	Odorless mineral spirits
Canvas	Support surface	Linen or cotton canvas, primed
Varnish (optional, for final protection)	Protection and depth of color	Dammar or synthetic resin varnish

preparation

surface prep

Prepare a standard oil-primed canvas. Munch’s practice in this period involved working directly on prepared surfaces, often leaving the ground visible or using it as a tonal base. While specific priming recipes for this exact canvas are not detailed in the sources, the general practice of the time involved oil grounds to facilitate the layering techniques described (Source 2).

underdrawing

Munch’s preparatory methods are not explicitly detailed in the provided sources for this specific work. However, given his interest in graphic arts and woodcuts (Source 4), he likely employed a loose, expressive underdrawing rather than a rigid academic sketch. It is advisable to use a thin wash of oil or charcoal to establish the basic forms of the figures and the spatial arrangement without committing to hard lines.

underpainting

Employ a grisaille (monochrome underpainting) technique. According to traditional methods relevant to Munch’s era and the sources provided, one should mentally extract red and yellow colors, painting the form in neutral tones (black, ultramarine, white) to establish value and structure (Source 1). This layer must be allowed to dry completely before proceeding to color application.

color palette

Ultramarine/Black/White

Ultramarine, Ivory Black, Titanium White

Grisaille underpainting to establish form and value (Source 1)

Red/Yellow Tones

Vermilion, Cadmium Yellow, or Earth tones

Glazing and scumbling to introduce warmth and emotional intensity, applied over the dry grisaille (Source 1)

Green/Blue Accents

Viridian, Phthalo Blue

General use in Munch’s palette to create contrast and atmospheric depth, consistent with his symbolic style (Source 4)

composition

The composition likely emphasizes the psychological tension between figures rather than precise spatial realism. Munch was influenced by the use of color to convey emotion (Source 4). The arrangement should focus on the interaction of forms and the use of color contrast to evoke the feeling of jealousy, rather than strict anatomical accuracy. The sources do not describe specific visual details of the room layout or clothing patterns, so the composition should rely on general principles of visual ordering, such as the use of line and shape to guide the eye and create emotional impact (Source 6).

step by step

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

underdrawing

step 01
Sketch the basic forms of the figures and the spatial layout on the primed canvas using a thin oil wash or charcoal. Focus on the emotional posture and interaction rather than fine detail.
Tip — Keep lines fluid and expressive, avoiding hard edges.
Loose underdrawing

underpainting

step 02
Apply a grisaille layer using black, ultramarine, and white. Establish the light and shadow structure of the scene. Mentally extract red and yellow tones, focusing on value contrast.
Tip — Ensure this layer is completely dry before proceeding. This prevents muddying the subsequent glazes.
Grisaille

first pass

step 03
Begin glazing with transparent coats of red and yellow tones over the dry grisaille. Use oil as a medium to allow for smooth application and blending.
Tip — Apply thin, transparent layers to build up color intensity without obscuring the underlying form.
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to add texture and coldness where needed, particularly over darker grounds. This technique allows the underlying painting to show through, creating a grey bloom or atmospheric effect.
Tip — Watch for the interaction between the semi-opaque layer and the dark underpainting to achieve the desired emotional tone.
Scumbling

finishing

step 05
Adjust color contrasts and intensities. Munch’s style involves using color to convey emotion, so enhance the symbolic impact of the hues. Ensure the balance between warm and cool tones reflects the psychological tension of the scene.
Tip — Refer to the principles of simultaneous contrast to harmonize colors and enhance their emotional effect.
Color contrast

varnishing

step 06
Once the painting is fully dry, apply a varnish to protect the surface and unify the sheen. This step is consistent with traditional oil painting practices.
Tip — Use a varnish mixed with resin if desired for texture and protection, as noted in general oil painting techniques.
Varnishing

critical techniques

Glazing

Applying transparent coats of color over a dry underpainting to build depth and luminosity. This method was practiced by old masters and is relevant to Munch’s layered approach (Source 1).

Scumbling

Using semi-opaque paint over a darker ground to create a cold, grey bloom effect. This technique allows the underlying structure to influence the final color, adding complexity and atmosphere (Source 1).

Symbolic Color Use

Munch used color to convey emotion rather than realistic depiction, influenced by Gauguin and other modern artists. This involves selecting hues for their psychological impact rather than their naturalistic accuracy (Source 4).

common pitfalls

→Applying glazes before the underpainting is completely dry, which can lead to muddying and loss of clarity (Source 1).
→Overworking the paint, losing the expressive quality of the initial layers. Munch’s style values emotional immediacy over polished finish (Source 4).
→Ignoring the contrast between warm and cool tones, which is essential for creating the atmospheric and emotional depth characteristic of Munch’s work (Source 1, Source 7).

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 visual details of the 1895 *Jealousy* painting, such as exact clothing patterns, facial expressions, and room layout, are not described in the provided sources.
·Munch’s specific pigment choices for this particular canvas are not detailed, though general period practices are inferred.
·The exact sequence of layers for this specific work is not documented, so the guide relies on general Munch practices and traditional oil painting techniques.

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

cross-referenced from

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

Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to General materials and varnishing
Wikipedia: Jealousy (Munch)↗
- Jealousy (Munch) — part 1 — applied to Context of the artwork and Munch’s repeated engagement with the theme
Wikipedia bio — Edvard Munch↗
- Edvard Munch — part 6 — applied to Influence of Gauguin and use of color for emotion