plate no. 5219

Meadow in Martinique

oil, canvasPost-Impressionismlandscapelandscapetreesfieldskyhillsvegetation

recreation guide

Meadow in Martinique (1887) represents a pivotal moment in Paul Gauguin’s transition from Impressionism toward Post-Impressionism and Synthetism. Painted during his stay in Martinique, this work marks the beginning of his use of analogous colors in close proximity to achieve a muted, harmonious effect, rather than the high-contrast vibrancy often associated with his later Tahitian works (Source 1). The painting is characterized by a departure from classical perspective and subtle gradations of color, favoring instead flat areas of color and bold outlines—a style influenced by Cloisonnism and Japanese prints (Source 4). Gauguin’s intent was not to replicate surface reality but to create a composition with independent vitality, using color and line to stimulate the imagination much like music (Source 1).

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (primary set: Ultramarine Blue, Cadmium Yellow, Vermilion/Red Ochre)	To mix analogous colors and create the muted, harmonious palette characteristic of this period.	—
Canvas (primed)	Support for the oil medium.	—
Linseed oil or stand oil	Medium for glazing and scumbling techniques.	—
Turpentine or odorless mineral spirits	Thinner for initial washes and cleaning brushes.	—
Black paint (Ivory Black or Mars Black)	For creating bold outlines and defining contours, consistent with Cloisonnist influence.	—

preparation

surface prep

Prepare a standard oil-primed canvas. While specific priming methods for this exact canvas are not detailed in the sources, Gauguin’s later work involved flat, unrelieved surfaces to emphasize the decorative quality of the image (Source 4). Ensure the surface is matte to avoid unwanted shine, as a dull surface helps safeguard the flatness of the design (Source 8).

underdrawing

Gauguin’s work from this period shows a move away from detailed preparatory sketches in favor of bold, direct application. However, given his emphasis on 'definite arrangement of lines' (Source 1), a light underdrawing to establish major forms and upright lines is advisable. Do not rely on classical perspective; instead, focus on the compositional austerity and flatness influenced by Japanese prints (Source 1, Source 4).

underpainting

Consider a grisaille (monochrome underpainting) to establish values before applying color. This technique, described in traditional oil painting practice, involves extracting red and yellow tones to translate what is left in nature, allowing for subsequent glazing and scumbling of color tones (Source 7). This aligns with Gauguin’s calculated approach to composition, where every feature is considered in advance (Source 1).

color palette

Analogous Greens and Yellows

Ultramarine Blue + Cadmium Yellow (varied ratios)

The meadow and foliage. Gauguin began using analogous colors in close proximity to achieve a muted effect in Martinique (Source 1).

Muted Earth Tones

Red Ochre + Black + White

Ground and shadows. To neutralize colors without shifting hue, use complementary colors or black/white carefully (Source 5).

Bold Black Outlines

Ivory Black + Linseed Oil

Defining shapes and contours. Influenced by Cloisonnism and Japanese prints, Gauguin used heavy black outlines to separate areas of pure color (Source 4).

Harmonious Blues

Ultramarine Blue + White

Sky or distant elements. Part of the analogous color scheme to create harmony (Source 2).

composition

The composition likely emphasizes major forms and upright lines to clearly define shape and contour, reflecting Gauguin’s love affair with Japanese prints and their compositional austerity (Source 1). Avoid subtle gradations of color and classical perspective; instead, aim for a flat, decorative arrangement that harmonizes man and nature (Source 1, Source 4). The scene should convey serenity and self-contained sustainability, typical of his depictions of natural environments (Source 1).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Lightly sketch the major forms and upright lines of the landscape, focusing on compositional austerity rather than detailed realism.
Tip — Avoid classical perspective; flatten the space.
Compositional Austerity

underpainting

step 02
Apply a grisaille underpainting to establish values, using black, white, and perhaps ultramarine to create a monochrome base.
Tip — Ensure this layer is completely dry before proceeding.
Grisaille

first pass

step 03
Apply flat areas of analogous colors (greens, yellows, blues) in close proximity to achieve a muted, harmonious effect.
Tip — Do not blend colors on the canvas; let them sit side-by-side.
Analogous Color Harmony

refining

step 04
Use bold black outlines to separate areas of color and define contours, reminiscent of Cloisonnism.
Tip — Outlines should be heavy and deliberate, not tentative.
Cloisonnism

finishing

step 05
Glaze and scumble additional tones if needed to adjust harmony, ensuring the final image has an independent existence and vitality.
Tip — Aim for a 'symphony' of color and line that stimulates the imagination.
Glazing and Scumbling

critical techniques

Analogous Color Harmony

Gauguin used analogous colors in close proximity to achieve a muted effect, moving away from the high contrast of Impressionism (Source 1).

Cloisonnism

Use of flat areas of pure color separated by heavy black outlines, influenced by Japanese prints and medieval enameling (Source 4).

Non-representational Color

Color is used not to depict reality but to create a composition with independent vitality, akin to music (Source 1).

common pitfalls

→Using complementary colors for high contrast, which contradicts Gauguin’s use of analogous colors for a muted effect in this period (Source 1).
→Blending colors on the canvas, which destroys the flat, decorative quality of Cloisonnism (Source 4).
→Relying on classical perspective and subtle gradations, which Gauguin explicitly eliminated in this style (Source 4).
→Adding black to darken colors without considering hue shifts; use complementary colors to neutralize if necessary (Source 5).

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 pigment brands or exact color ratios used by Gauguin for this specific painting are not provided in the sources.
·The exact dimensions of the canvas are not specified.
·Detailed brushwork techniques (e.g., brush type, stroke direction) are not described in the sources.

grounded in

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

The Practice of Oil Painting — COLOURING A MONOCHROME↗
- Grisaille underpainting — applied to Underpainting step

cross-referenced from

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

Wikipedia bio — Paul Gauguin — part 25↗
- Gauguin's use of analogous colors and non-representational techniques — applied to Color palette, composition notes, and critical techniques
Wikipedia bio — Paul Gauguin — part 6↗
- Cloisonnism and artistic development — applied to Outlines, flat color areas, and rejection of perspective
Wikipedia: Color theory — Color theory — part 6↗
- Color mixing principles — applied to Avoiding hue shifts when darkening colors