plate no. 7594

Mademoiselle Beatrice Tapie de Celeyran

oil, panelPost-Impressionismportraitportraitfigurewomandresshairbackground

recreation guide

This recreation guide addresses Henri de Toulouse-Lautrec’s 1897 portrait *Mademoiselle Beatrice Tapie de Celeyran*. As a Post-Impressionist work on panel, it reflects Lautrec’s mature style, characterized by a departure from strict academic realism toward expressive line and color contrast. Lautrec, trained under Léon Bonnat and Fernand Cormon, was known for his immersion in the bohemian life of Montmartre and his ability to capture the psychological essence of his subjects, often from his own aristocratic circle (Source 4, Source 7). The painting likely employs the principles of simultaneous contrast and harmony of contrast to define the sitter’s complexion against the background and dress, avoiding the 'crudity' of unmixed intense colors by using broken tones or greyed mixtures (Source 1).

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Wood panel (poplar or similar hardwood)	Lautrec frequently painted on wood panels, especially for portraits and smaller works, providing a rigid, smooth surface suitable for fine detail.	Pre-primed poplar panel or MDF board
Oil paints (cadmiums, ultramarine, earth tones, lead white)	To achieve the luminous, contrasting effects described in color theory texts relevant to the period.	High-quality tube oils; titanium white is a safe modern substitute for lead white
Linseed oil or walnut oil	Medium for glazing and adjusting paint consistency.	Refined linseed oil
Hog bristle and sable brushes	Hog bristle for broader areas and impasto; sable for fine details in the face and hands.	Synthetic bristle for washes, natural sable for details
Charcoal or graphite	For the initial underdrawing, consistent with the draftsmanship Lautrec developed under Bonnat.	Vine charcoal or soft graphite pencil

preparation

surface prep

The panel should be sized with rabbit-skin glue or a modern acrylic gesso to seal the wood. Lautrec’s training under Bonnat emphasized solid craftsmanship (Source 2). The surface should be prepared with a warm-toned ground (e.g., raw umber or ochre wash) to help unify the mid-tones and allow for the 'harmony of contrast' when applying lighter flesh tones (Source 1).

underdrawing

Lautrec was an accomplished draftsman (Source 4). The underdrawing should be loose but accurate, focusing on the structural proportions of the head and shoulders. Avoid hard, ink-like lines; instead, use charcoal to establish the 'broad masses' before refining details, as advised for copying works to correct tendencies toward being 'too tied down to your outline' (Source 2).

underpainting

Apply a thin, monochromatic underpainting (grisaille or brown wash) to establish the light and shadow structure. This helps in judging the 'predominating colour in the complexion' before applying full color, ensuring the flesh tones are not merely 'red and white' but have depth and variation (Source 1).

color palette

Lead White / Titanium White

Pure white

Highlights on the face, hands, and dress. Lautrec used white to break tones and create luminosity.

Ultramarine Blue

Pure ultramarine

Shadows and background elements. Used to create contrast with warm flesh tones.

Cadmium Yellow / Yellow Ochre

Cadmium yellow light mixed with ochre

Warm highlights in the hair and skin, contributing to the 'brilliancy' of the complexion (Source 1).

Burnt Umber / Raw Umber

Pure earth tones

Underpainting, shadows, and defining the hair and clothing details.

Vermilion / Cadmium Red

Red mixed with white or grey

Subtle warmth in the cheeks and lips. Lautrec avoided 'crudity' by mixing these with grey or light tones (Source 1).

composition

While specific compositional details of *Mademoiselle Beatrice Tapie de Celeyran* are not described in the sources, Lautrec’s portraits typically feature a direct, engaging gaze and a cropped composition that focuses on the sitter’s personality. The background is likely simplified to avoid distracting from the figure, adhering to the principle that 'accessories... will give value to it' (the complexion) (Source 1).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the basic proportions of the head and shoulders using charcoal. Focus on the tilt of the head and the position of the eyes.
Tip — Keep lines light and flexible. Lautrec’s training emphasized solid drawing skills (Source 4).
Draftsmanship

underpainting

step 02
Apply a thin wash of burnt umber to establish the shadow areas and mid-tones. Let this dry completely.
Tip — This helps in judging the 'predominating colour' of the complexion before adding local colors (Source 1).
Grisaille/Brown Wash

first pass

step 03
Block in the major color areas: the background, the dress, and the general tone of the skin. Use broken tones or greyed mixtures to avoid 'crudity' (Source 1).
Tip — Ensure the background color contrasts harmoniously with the skin tone. If the skin is warm, use a cooler background (Source 1).
Color Blocking

refining

step 04
Refine the facial features, paying attention to the 'subtle asymmetry' and expression. Mix colors with grey to break tones and avoid monotony (Source 1).
Tip — Lautrec’s portraits are known for their psychological depth; capture the sitter’s character rather than just physical likeness.
Glazing and Scumbling

finishing

step 05
Add final highlights and details to the eyes, lips, and hands. Use pure white sparingly for the brightest highlights.
Tip — Check the overall harmony. Ensure that the 'contrast of the most opposite colours' is balanced by tone (Source 1).
Impasto/Detailing

critical techniques

Simultaneous Contrast

Placing complementary or contrasting colors side-by-side to enhance their visual intensity. Lautrec used this to make the complexion stand out against the background and dress (Source 1, Source 6).

Broken Tones

Mixing colors with grey or using light tones of complementary colors to avoid 'crudity' and create a more harmonious effect (Source 1).

Expressive Line

Lautrec’s background in drawing and caricature influenced his use of line to define form and character, even in oil painting (Source 4).

common pitfalls

→Using unmixed, intense colors for the flesh tones, which can appear 'crude' and lack the 'brilliancy' of a well-modeled complexion (Source 1).
→Over-modeling the face, losing the 'broad masses' that give the portrait its initial impact (Source 2).
→Ignoring the contrast between the skin and the background/dress, leading to a 'poor effect' where the figure does not stand out (Source 1).

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 specific color scheme of *Mademoiselle Beatrice Tapie de Celeyran* (e.g., the exact color of her dress or the background) is not described in the sources.
·The specific brushwork style (e.g., impasto vs. glazing) for this particular painting is not detailed, though Lautrec’s general practice is inferred.
·The exact pose and expression of the sitter are not described in the provided texts.

grounded in

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

Laws of Contrast of Colour↗
- Section on Portrait Painting — applied to Color mixing, contrast principles, and avoiding crudity in flesh tones.
The Practice of Oil Painting↗
- On Copying — applied to Advice on underdrawing and avoiding over-modeling.

cross-referenced from

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