plate no. 5657
Looting (Valencia)
recreation guide
This recreation guide addresses the painting 'Looting (Valencia)' by Carlos Saenz de Tejada, identified as an oil work in the Social Realism style, categorized as a sketch and study. The artwork likely depicts a scene of social unrest or conflict, consistent with the Social Realist genre which focuses on the harsh realities of everyday life and political struggle. While specific visual details of the composition are not provided in the source texts, the medium is confirmed as oil, requiring adherence to traditional oil painting techniques such as layering, glazing, and scumbling to achieve depth and realism. The artist, Carlos Saenz de Tejada, is associated with the Valencian art scene. Although Source 5 discusses Carmen Calvo extensively, it mentions Saenz de Tejada only in the context of a collaborative project (Lápida-Mural) and does not detail his specific painting style. Therefore, this guide relies on general principles of oil painting practice (Sources 1, 3, 4) and color theory (Sources 2, 7) to reconstruct the technical process. The approach emphasizes the 'old master' method of building up color through transparent glazes over a monochrome underpainting, a technique noted for its ability to create luminous depth and realistic light effects, which aligns with the realistic demands of Social Realism.
estimated time
40-60 hours over 8-12 sessions (allowing for drying times between glaze layers)
materials
6 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, Black, White, Yellow Ochre, Red Ochre, Vermilion) | Primary pigments for grisaille underpainting and subsequent glazing | — |
| Linseed oil | Medium for mixing paints and creating glazes | — |
| Oil of Copavia (or modern damar resin varnish) | Historical medium for first and second paintings to increase transparency and flow | Damar varnish mixed with linseed oil |
| Canvas or panel | Support for the painting | Primed linen or cotton canvas |
| Charcoal or graphite | Underdrawing | — |
| Soft bristle brushes | Applying glazes and scumbles | — |
preparation
surface prep
Prepare a rigid support (panel or stretched canvas) with a traditional oil ground. The sources emphasize the importance of the medium's capacity for illusion and expression (Source 4). A smooth, white or light-toned ground is recommended to facilitate the glazing technique described in Source 1, where transparent colors are layered over a monochrome base. Ensure the ground is fully dry and sealed to prevent oil sinking.
underdrawing
Begin with a loose, expressive underdrawing using charcoal or thinned oil paint. As a 'sketch and study,' the drawing should capture the gesture and mass of the figures rather than fine detail (Source 8). Focus on the contour and volume of the subjects, using line weight to suggest depth and light (Source 8). Do not overwork the outline; it should serve as a guide for the subsequent monochrome layer.
underpainting
Create a grisaille (monochrome underpainting) using black, ultramarine, and white mixed with oil of copavia or a similar medium (Source 1). This layer establishes the values (lights and darks) of the composition. Mentally extract the red and yellow colors, focusing on what remains in nature if these hues were absent (Source 1). This step is crucial for achieving the 'illusion of natural appearances' without relying on opaque mixing (Source 4). Allow this layer to dry completely before proceeding.
color palette
Ultramarine/Black/White
Ultramarine, Ivory Black, Titanium White
Grisaille underpainting to establish values
Yellow Ochre/Vermilion
Yellow Ochre, Vermilion, Cadmium Yellow
Glazing and scumbling to introduce warmth and flesh tones
Red Ochre/Burnt Sienna
Red Ochre, Burnt Sienna, Alizarin Crimson
Glazing to deepen shadows and add richness to earth tones
White
Titanium White or Lead White (historical)
Highlights and scumbling over darker grounds to create coldness or bloom (Source 1)
composition
As specific compositional details are not provided, assume a dynamic arrangement typical of Social Realism, focusing on human figures in motion or conflict. Use the principles of simultaneous contrast to enhance the realism of the scene: adjacent colors will influence each other, so plan the placement of warm and cool tones to create visual tension and depth (Source 2). The composition should likely emphasize broad masses rather than intricate finish, consistent with the 'sketch and study' genre (Source 3).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the main figures and background elements using charcoal or thinned paint. Focus on gesture and volume.
Tip — Keep lines loose; this is a study, not a finished portrait.
Contour drawing
underpainting
step 02
Mix black, ultramarine, and white with oil of copavia. Paint the entire composition in monochrome, establishing all light and shadow values.
Tip — Mentally exclude red and yellow hues to focus on value structure.
Grisaille
first pass
step 03
Once the grisaille is dry, begin glazing with transparent oil colors. Apply yellow and red tones where they occur in nature, similar to tinting an engraving.
Tip — Use thin, transparent layers to build up color intensity.
Glazing
refining
step 04
Use scumbling (semi-opaque paint) over darker areas to create coldness or a 'grey bloom' effect, particularly in shadows or distant elements.
Tip — Ensure the underlying painting shows through the semi-opaque layer.
Scumbling
finishing
step 05
Adjust colors based on simultaneous contrast. If a color appears too warm or cool due to adjacent hues, modify it to maintain harmony and realism.
Tip — Be aware of eye fatigue; step back frequently to assess true color relationships.
Simultaneous Contrast
varnishing
step 06
Apply a final varnish to protect the painting and unify the surface gloss.
Tip — Use a resin-based varnish compatible with oil paints.
Varnishing
critical techniques
Glazing
Applying transparent coats of color over a dry monochrome underpainting to build luminosity and depth. This method was practiced by old masters and is recommended for achieving realistic light effects (Source 1).
Scumbling
Using semi-opaque paint over darker grounds to create coldness or a grey bloom. This technique allows the underlying values to influence the final color appearance (Source 1).
Simultaneous Contrast
Adjusting colors based on their interaction with adjacent hues. This ensures that the perceived color matches the intended reality, accounting for the eye's tendency to see complementary tints (Source 2).
common pitfalls
- →Over-mixing colors on the palette instead of layering them on the canvas, which reduces luminosity (Source 1).
- →Ignoring the drying time of the grisaille layer, leading to muddy colors when glazing (Source 1).
- →Failing to account for simultaneous contrast, resulting in colors that appear inaccurate due to adjacent hue influences (Source 2).
- →Attempting too much detail in the underdrawing, which contradicts the 'sketch and study' nature of the work (Source 3).
- →Losing sight of the medium's vitality by trying to deceive the eye completely, rather than expressing feeling through painted symbols (Source 4).
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 'Looting (Valencia)' (figures, setting, exact color scheme) are not described in the sources.
- ·Carlos Saenz de Tejada's personal painting habits and preferred palette are not detailed in the provided texts.
- ·The exact year of creation is not available, making it difficult to pinpoint period-specific material constraints.
- ·Source 5 primarily discusses Carmen Calvo, with only a passing mention of Saenz de Tejada, limiting biographical context.
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
- ON COPYING — applied to Approach to study and skill development
Laws of Contrast of Colour↗
- Simultaneous Contrast — applied to Color adjustment and realism
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of medium and material selection
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- Oil painting — applied to Basic material properties
Wikipedia: Harmony (color)↗
- Harmony (color) — applied to Color theory principles
Wikipedia: Contour drawing↗
- Contour drawing — applied to Underdrawing technique
Read more about the corpus on the sources page and how the guides are built on the methods page.
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