plate no. 8994

Lane of Trees

oil, panelImpressionismlandscapetreesforestlandscapelightshadowpath

recreation guide

Odilon Redon’s 'Lane of Trees' represents a pivotal shift in the artist’s career from his early monochromatic 'noirs' to a vibrant, coloristic style developed in the 1890s and early 1900s. While the specific visual details of this particular panel are not described in the provided sources, Redon’s work from this period is characterized by dreamlike, abstracted landscapes that lean toward abstraction rather than strict topographical realism (Source 7, Source 8). The artwork likely reflects the influence of Japanese folding screens (byōbu), evident in the rectangular proportions and the use of a palette dominated by yellows, greys, browns, and light blues, as seen in his commissioned decorative panels for the Château de Domecy (Source 7).

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Wood panel	Support surface, consistent with the medium listed as 'oil, panel' and Redon's practice of creating decorative panels.	—
Oil paints (Yellow Ochre, Raw Umber, White Lead/Titanium White, Ultramarine or Cerulean Blue, Burnt Sienna)	To replicate the specific palette of yellow, grey, brown, and light blue noted in Redon's transitional period works.	Titanium White is a modern substitute for White Lead; Ultramarine or Cerulean for historical blues.
Linseed oil or Walnut oil	Binder for pigments, providing flexibility and rich color density.	—
Turpentine	Thinner for initial layers and cleaning brushes.	—
Palette knife	For mixing paints and potentially applying textured layers, as oil paint can be molded into different textures.	—
Soft brushes (hog bristle and sable)	For applying washes and refining details.	—

preparation

surface prep

Prepare a wood panel with a traditional oil ground. Redon’s work on panels, particularly the decorative series for Domecy, suggests a smooth, stable surface capable of supporting layered oil applications. The ground should be neutral or slightly warm to allow the characteristic yellows and greys to harmonize. Ensure the panel is sealed to prevent oil absorption issues common with wood supports (Source 2).

underdrawing

Redon’s later works are described as moving toward abstraction with 'landscape details' that do not show specific places (Source 7). Therefore, the underdrawing should be loose and suggestive rather than precise. Use charcoal or a thin wash of raw umber to sketch the general massing of trees and the horizon line. Avoid rigid linear construction; instead, focus on the 'endless horizon' and the arrangement of twigs and leaves as abstract forms (Source 7).

underpainting

Apply a thin, transparent underpainting (imprimatura) using raw umber and turpentine to establish the tonal values. This aligns with general French school practices of setting the palette with raw umber and white for initial studies (Source 3). This layer helps unify the composition and provides a mid-tone base for the subsequent layers of yellow, grey, and blue.

color palette

Yellow Ochre / Massicot

Yellow Ochre pigment

Dominant color in Redon’s transitional period, used for foliage and atmospheric haze.

Light Blue

Ultramarine or Cerulean mixed with White

Sky and atmospheric perspective, consistent with the 'light blue' noted in his Domecy panels.

Grey

White mixed with small amounts of Blue and Brown

Trunks, shadows, and atmospheric depth.

Brown / Raw Umber

Raw Umber or Burnt Umber

Earth tones, tree trunks, and grounding the composition.

White

White Lead (historical) or Titanium White (modern)

Highlights, mixing with other colors to create pastels and light tones.

composition

The composition should avoid specific topographical details, aiming instead for an 'endless horizon' with abstracted elements of trees, twigs, and budding flowers (Source 7). The arrangement should feel coherent but not strictly realistic, reflecting the 'lyrical chromatics' and release from 'stylized naturalism' associated with Redon’s later work (Source 6). The rectangular proportions should be respected, possibly echoing the verticality of Japanese byōbu screens (Source 7).

step by step

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

underdrawing

step 01
Sketch the basic forms of the trees and horizon line loosely on the prepared panel using charcoal or a thin wash.
Tip — Do not overwork the drawing; Redon’s later style is abstracted, so precise lines are less important than mass and tone.
Loose sketching

underpainting

step 02
Apply a thin wash of raw umber and turpentine to establish the overall tonal structure.
Tip — Keep this layer transparent to allow the ground to show through, aiding in color harmony.
Imprimatura

first pass

step 03
Block in the main areas of color: yellows for the foliage, light blues for the sky, and browns for the trunks. Use thin layers of oil paint.
Tip — Focus on the 'massing of light and shade' rather than fine detail (Source 1).
Layering

refining

step 04
Build up the paint in subsequent layers, adding texture and depth. Use the palette knife or brush to mold the paint into different textures, particularly for the leaves and twigs.
Tip — Redon’s work from this period shows a transition to abstraction; allow the forms to remain somewhat indistinct and dreamlike.
Impasto/Texture

finishing

step 05
Refine the edges and adjust the color balance. Ensure the 'lyrical chromatics' are prominent, with bright colors released from strict naturalism.
Tip — Check the painting from a distance to assess the overall atmospheric effect.
Glazing/Scumbling

varnishing

step 06
Once the painting is fully dry, apply a varnish to protect the surface and enhance the depth of the colors.
Tip — Use a resin-based varnish if desired, as oil may be boiled with resin to create varnish for protection and texture (Source 2).
Varnishing

critical techniques

Layering

Oil painting allows for the use of layers, which provides richer and denser color. Redon’s transition to oil in the 1890s involved building up these layers to achieve his characteristic luminosity.

Abstraction of Landscape

Redon’s landscapes from this period do not depict specific places but rather abstract details of trees and flowers against an endless horizon. This technique involves simplifying forms to their essential shapes and colors.

Lyrical Chromatics

The use of bright colors, particularly in the later works, is described as 'lyrical chromatics' that release the work from stylized naturalism. This involves prioritizing color harmony and emotional effect over realistic representation.

common pitfalls

→Over-detailing the trees: Redon’s later work is abstracted; avoid rendering every leaf individually. Focus on the mass and suggestion of foliage (Source 7).
→Using a muddy palette: Redon’s palette is characterized by distinct yellows, greys, browns, and light blues. Avoid mixing too many colors together, which can dull the 'lyrical chromatics' (Source 6, Source 7).
→Ignoring the atmospheric perspective: The 'endless horizon' and atmospheric haze are key to Redon’s dreamlike quality. Ensure the background recedes properly using lighter, cooler tones (Source 7).
→Applying paint too thickly in early layers: Follow the general advice to avoid 'reckless' application of paint with obvious errors; build up layers gradually to maintain lucidity (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.

·The exact dimensions of 'Lane of Trees' are not provided, though Redon’s Domecy panels were up to 2.5 meters high. The scale of this specific work is unknown.
·The specific year of creation is not available, though it is likely from the 1890s-1900s period based on the medium and style.
·The precise arrangement of trees in 'Lane of Trees' is not described in the sources, so the composition must be inferred from general descriptions of Redon’s abstract landscapes.
·The specific pigments used by Redon for this painting are not listed, only the general color families (yellow, grey, brown, light blue).

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting — THE FRENCH SCHOOL↗
- General oil painting techniques — applied to Layering, massing of light and shade, and general materials.
The Practice of Oil Painting — PAINTING FROM LIFE↗
- Practical advice for painting — applied to Underpainting with raw umber and avoiding reckless paint application.

cross-referenced from

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

Wikipedia bio — Odilon Redon — part 7↗
- Biographical details and Domecy panels — applied to Palette colors, abstract composition, Japanese influence, and transition to oil.
Wikipedia bio — Odilon Redon — part 6↗
- Biographical details and Surrealist influence — applied to Lyrical chromatics and release from naturalism.
Wikipedia: Oil painting↗
- Oil painting techniques — applied to Use of layers, texture, and varnishing.