plate no. 2546
Namur. France.
Pyotr Konchalovsky, 1908
recreation guide
Pyotr Konchalovsky’s 'Namur. France.' (1908) is a cityscape executed in oil, reflecting his engagement with Post-Impressionist principles during this period. The work likely emphasizes the structural integrity of the urban environment through bold color contrasts and simplified forms, consistent with the artist’s known interest in the 'laws of contrast of colour' and the spontaneous production of effects through juxtaposition (Source 1). As a topographical view, it depicts a specific place with buildings prominently featured, aiming for a coherent composition where the sky and weather elements contribute to the overall mood (Source 4). The painting avoids arbitrary detail in favor of great effects, allowing smaller details to result from the primary color and tone relationships (Source 1).
estimated time
20-30 hours over 5-7 sessions
materials
4 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (primary colors: red, yellow, blue, plus black and white) | To create the full range of hues and values required for the cityscape, adhering to the principle that a limited palette can produce complex effects through contrast. | Titanium White, Cadmium Red, Cadmium Yellow, Ultramarine Blue, Ivory Black |
| Linseed oil or oil of copavia | Medium for glazing and scumbling, particularly if employing a monochrome underpainting technique. | Stand oil or refined linseed oil |
| Canvas or panel | Support for the oil painting. | Primed linen or cotton canvas |
| Brushes (flat and filbert) | For applying broad masses of color and refining edges. | Synthetic or natural hair brushes |
preparation
surface prep
The surface should be prepared with a ground that allows for the application of oil paints. While specific preparation for this exact work is not detailed, traditional oil painting practices of the period often involved a white or neutral ground to facilitate the layering of colors and the use of glazing techniques (Source 5).
underdrawing
Contour drawing techniques may be employed to establish the mass and volume of the buildings and streets, focusing on the outlined shape rather than minor details (Source 8). The underdrawing should emphasize the three-dimensional perspective and the relationship between form and space, using lines that vary in value to suggest distance and light (Source 8).
underpainting
A grisaille (monochrome underpainting) may be used to establish the tonal values of the composition before applying color. This involves mentally extracting red and yellow colors to translate what would be left in nature, creating a foundation for subsequent glazing and scumbling (Source 5). This technique helps in harmonizing the colors inherent to the objects represented (Source 1).
color palette
Ultramarine Blue
Pure pigment
Sky and shadows, leveraging the law of simultaneous contrast to enhance adjacent tones.
Cadmium Yellow
Pure pigment
Highlights and sunlit areas, used in glazing to warm up the underlying tones.
Cadmium Red
Pure pigment
Accent colors and warm shadows, applied via scumbling to create depth.
Titanium White
Pure pigment
Highlighting and mixing to adjust values.
Ivory Black
Pure pigment
Deep shadows and defining contours, used sparingly to maintain luminosity.
composition
The composition should avoid exact bisections of the picture space and ensure the horizon line is positioned to emphasize either the sky or the ground, depending on the desired focus (Source 7). A center of interest should be established to prevent the work from becoming a mere pattern, with the viewer's eye led around all elements before exiting the picture (Source 7). The prominent subject, likely the cityscape itself, should be off-center unless a symmetrical composition is intended, balanced by smaller satellite elements (Source 7).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the main architectural forms and streets using contour lines, focusing on mass and volume rather than detail.
Tip — Use lighter lines for distant objects and darker lines for foreground elements to suggest depth.
Contour drawing
underpainting
step 02
Apply a grisaille underpainting to establish the tonal values of the scene, excluding red and yellow hues.
Tip — Ensure the underpainting is completely dry before proceeding to color application.
Grisaille
first pass
step 03
Glaze and scumble yellow and red tones over the dry grisaille, mimicking the process of tinting an engraving.
Tip — Observe how the underlying tones affect the appearance of the glazed colors, leveraging simultaneous contrast.
Glazing and Scumbling
refining
step 04
Adjust colors and tones based on the law of simultaneous contrast, ensuring that adjacent colors enhance each other.
Tip — Be aware of mixed contrast effects, where previously viewed colors may influence the perception of current colors.
Simultaneous Contrast
finishing
step 05
Refine details and edges, ensuring that the composition leads the viewer's eye through the scene.
Tip — Check for exact bisections and ensure the horizon line is appropriately positioned.
Compositional Balance
varnishing
step 06
Apply a final varnish to protect the painting and enhance the depth of colors.
Tip — Use a varnish compatible with oil paints to avoid yellowing or cracking.
Varnishing
critical techniques
Simultaneous Contrast
Used to harmonize colors and enhance the perception of light and shadow by placing complementary colors adjacent to each other.
Glazing and Scumbling
Applied over a monochrome underpainting to build up color and depth, allowing the underlying tones to influence the final appearance.
Contour Drawing
Used in the underdrawing phase to establish the mass and volume of the architectural forms.
common pitfalls
- →Ignoring the effects of simultaneous contrast, leading to muddy or inaccurate color representations (Source 2).
- →Over-modeling details, which can detract from the great effects achieved through broad color juxtapositions (Source 1).
- →Placing the horizon line in the center of the composition, which can create a static and unbalanced image (Source 7).
- →Failing to allow the grisaille underpainting to dry completely before applying glazes, resulting in muddied colors (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 details about the exact pigments used by Konchalovsky in this particular work.
- ·The precise dimensions and aspect ratio of the original painting.
- ·Any unique preparatory sketches or studies that may have preceded the final work.
- ·The specific lighting conditions and time of day depicted in the cityscape.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Understanding the principles of color contrast and light effects in the cityscape.
- 315. As to the advantages the painter will find in it... — applied to Applying simultaneous contrast to harmonize colors and enhance perception.
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Techniques for creating a monochrome underpainting and subsequent glazing.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 1 — applied to General principles of composition and visual ordering.
- Composition (visual arts) — part 6 — applied to Specific compositional techniques such as avoiding bisections and positioning the horizon line.
Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to Understanding the elements of landscape and cityscape painting.
Wikipedia: Contour drawing↗
- Contour drawing — part 1 — applied to Using contour drawing to establish mass and volume in the underdrawing phase.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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