plate no. 0005
Paul Leclercq
recreation guide
This recreation guide addresses Henri de Toulouse-Lautrec’s 1897 portrait 'Paul Leclercq,' executed in oil on cardboard. Toulouse-Lautrec, a key figure in Post-Impressionism, is known for his immersion in the theatrical and bohemian life of Paris, often capturing subjects with a caricaturist’s eye for character and gesture (Source 6). While the specific visual details of this particular portrait are not described in the provided sources, the artist’s general practice involved a focus on the emotional significance and 'vivid manner' of form rather than mere scientific accuracy (Source 7). The work likely reflects his affinity for the vibrant, sometimes decadent affairs of late 19th-century Paris, rendered with a technique that balances representational likeness with expressive distortion.
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints | Primary medium for color application and glazing | High-quality tube oils (e.g., Winsor & Newton, Gamblin) |
| Cardboard support | Historical support used by Toulouse-Lautrec for this work | Heavyweight illustration board or mounted cardboard |
| Oil of copaiba (or linseed oil) | Medium for glazing and scumbling, as referenced in historical practice | Stand oil or pure linseed oil |
| Varnish | Mixed with oil for advanced glazing stages | Dammar varnish or synthetic resin varnish |
| Black, Ultramarine, White | Core pigments for the initial monochrome underpainting (grisaille) | Ivory Black, Ultramarine Blue, Titanium White |
preparation
surface prep
The artwork is on cardboard. Toulouse-Lautrec frequently used cardboard and canvas. The surface should be prepared to accept oil paint, likely with a traditional ground. While specific priming instructions for this piece are not in the sources, the use of cardboard implies a need for a stable, slightly absorbent ground to prevent warping and ensure adhesion. The artist’s practice suggests a focus on the material’s capacity for expression rather than a deceptive illusion of nature (Source 2).
underdrawing
Toulouse-Lautrec was a skilled draughtsman and caricaturist. His drawings were often highly finished to acquire the habit of minute visual expression, allowing for instinctive handling of subtleties during the painting phase (Source 7). The underdrawing should aim for 'artistic accuracy'—conveying the emotional significance and vivid form of the subject—rather than mere scientific precision (Source 7).
underpainting
A grisaille (monochrome underpainting) is recommended, consistent with the historical method described in Source 1. This involves painting the composition in black, ultramarine, and white to establish values and forms. The goal is to mentally extract red and yellow colors, translating what would remain in nature if those colors were absent (Source 1). This layer must be completely dry before proceeding.
color palette
Black
Ivory Black
Grisaille underpainting and shadows
Ultramarine
Ultramarine Blue
Grisaille underpainting and cool tones
White
Titanium White
Grisaille underpainting and highlights
Red/Yellow Tones
Vermilion, Cadmium Yellow, or similar
Glazing and scumbling over the dry grisaille to introduce color
composition
As a portrait, the intent is to represent a specific human subject, aiming for a likeness recognizable to those who have seen the sitter (Source 3). Toulouse-Lautrec’s portraits often served as records of the bohemian lifestyle, capturing the character of the subject through expressive means. The composition should prioritize the 'emotional idea' that prompted the work, using painted symbols true to nature but not intended to deceive the eye into thinking it is looking at real nature (Source 2).
step by step
underdrawing→underpainting→first pass→drying→refining→finishing
underdrawing
step 01
Sketch the figure of Paul Leclercq on the cardboard support. Focus on capturing the character and gesture rather than photographic detail.
Tip — Aim for 'artistic accuracy' that conveys emotional significance (Source 7).
Expressive Drawing
underpainting
step 02
Apply a grisaille using black, ultramarine, and white mixed with oil of copaiba (or linseed oil). Establish all values and forms.
Tip — Mentally extract red and yellow colors, painting only what remains in their absence (Source 1).
Grisaille
first pass
step 04
Begin glazing and scumbling with oil. Apply yellow and red tones transparently over the grisaille.
Tip — Treat it like tinting an engraving with watercolors. Glazing is a transparent coat of color (Source 1).
Glazing
drying
step 03
Allow the grisaille to dry completely. This is critical before applying glazes.
Tip — Ensure the layer is 'quite dry' to prevent mixing with subsequent layers (Source 1).
Drying
refining
step 05
Use scumbling (semi-opaque painting) to adjust tones and create effects like a 'grey bloom' if desired.
Tip — Scumbling over a darker ground tends to coldness; use it to let the underlying painting show through (Source 1).
Scumbling
finishing
step 06
As mastery is gained, mix varnish with oil for further glazing to deepen colors and unify the surface.
Tip — This technique was used by old masters and can add depth and richness (Source 1).
Varnish Glazing
critical techniques
Glazing
Applying a transparent coat of color over a dry underpainting to build up color and depth. Toulouse-Lautrec’s era and the described method suggest using oil or varnish/oil mixtures (Source 1).
Scumbling
Applying a semi-opaque layer of paint over a dry layer, allowing the underpainting to show through. This can create coldness or a 'grey bloom' (Source 1).
Grisaille
A monochrome underpainting in black, ultramarine, and white to establish form and value before adding color (Source 1).
common pitfalls
- →Attempting to achieve a 'meretricious attempt to deceive the eye' rather than expressing the vitality of the medium (Source 2).
- →Applying glazes before the grisaille is completely dry, which can ruin the transparency and cause muddiness (Source 1).
- →Darkening colors by adding black, which can cause hue shifts (e.g., yellows shifting greenish). Instead, use complementary colors to neutralize and darken (Source 5).
- →Lightening colors by adding white, which can cause hue shifts (e.g., reds shifting blue). Correct with adjacent 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 visual details of the portrait 'Paul Leclercq' (clothing, pose, background) are not described in the sources.
- ·Toulouse-Lautrec’s specific palette for this 1897 work is not detailed; the guide relies on general historical techniques and his known use of cardboard.
- ·The exact proportion of varnish to oil in the final glazing stages is not specified.
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 Grisaille underpainting, glazing, and scumbling techniques
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Understanding the role of materials and avoiding deceptive illusion
- FROM A STUDY BY BOTTICELLI — applied to Artistic accuracy and expressive drawing
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Portrait painting↗
- Portrait painting — part 1 — applied to Intent of portrait painting and likeness
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Color mixing pitfalls and corrections
Wikipedia bio — Henri de Toulouse-Lautrec↗
- Henri de Toulouse-Lautrec — part 1 — applied to Artist’s style, subject matter, and historical context
Read more about the corpus on the sources page and how the guides are built on the methods page.
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