plate no. 6449
Peyrelebade Landscape
Odilon Redon, 1868
recreation guide
This recreation guide addresses Odilon Redon’s *Peyrelebade Landscape* (1868), an early oil painting created during the artist’s formative years. While Redon is historically renowned for his later Symbolist pastels and oils characterized by 'lyrical chromatics' and visionary subjects (Source 7, Source 8), this 1868 work predates his mature style and his famous *noirs* (charcoal/lithograph works). At this stage, Redon was likely influenced by the broader French landscape traditions emerging from the Barbizon School and Romanticism, which emphasized natural scenery and atmospheric effects (Source 4, Source 5). The painting is executed in oil on canvas, a medium Redon would later master in the 1890s, but here it represents an earlier, more traditional approach to landscape composition (Source 7).
estimated time
20-30 hours over 5-7 sessions
materials
4 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Yellow Ochre, Red Ochre, Burnt Sienna) | Primary pigments for underpainting and glazing. Ultramarine, white, and black are specifically cited for initial layers in traditional methods. | — |
| Oil of Copavia (or modern linseed oil/walnut oil) | Medium for the first and second paintings, as described in traditional oil painting practices. | Stand oil or refined linseed oil |
| Canvas | Support for the oil painting. | — |
| Varnish | Used in later stages for glazing and scumbling to gain mastery over transparent and semi-opaque layers. | Dammar varnish or synthetic resin varnish |
preparation
surface prep
Prepare a standard oil-primed canvas. While specific priming details for this 1868 work are not explicitly detailed in the sources, traditional oil painting of this period typically involved a white or neutral ground to facilitate the grisaille underpainting method described in Source 1. Ensure the surface is smooth to allow for the fine gradations of light and shadow required in landscape painting.
underdrawing
The sources do not provide specific details on Redon’s underdrawing techniques for this early period. However, consistent with the traditional method described in Source 1, one should likely begin with a monochrome underpainting (grisaille) using black, ultramarine, and white. This step involves mentally extracting red and yellow tones to establish the value structure of the landscape before introducing color.
underpainting
Execute a grisaille underpainting using oil of copavia (or a similar medium) with black, ultramarine, and white (Source 1). This monochrome layer should establish the chiaroscuro and tonal gradations of the landscape. As noted in Source 3, juxtaposing different tones of the same color produces a true gradation of light, which is essential for creating depth in the landscape’s sky, trees, and terrain. Allow this layer to dry completely before proceeding.
color palette
Ultramarine
Pure ultramarine pigment
Underpainting and establishing blue tones in the sky and shadows. Source 1 notes its use in the first and second paintings.
White
Lead white or zinc white
Highlighting and mixing with ultramarine/black for the grisaille underpainting.
Black
Ivory black or lamp black
Shadows and defining forms in the grisaille underpainting.
Yellow Ochre / Red Ochre
Natural earth pigments
Glazing and scumbling to introduce warm tones. Source 1 suggests translating red and yellow tones back into the painting after the grisaille is dry.
Green (mixed)
Yellow and Blue/Ultramarine
Foliage and landscape elements. Source 2 notes that blue beside red verges on green, and complementary contrasts can enhance color intensity.
composition
The sources do not describe the specific compositional layout of *Peyrelebade Landscape*. However, general landscape painting principles from this era emphasize a coherent composition with a wide view, including sky and weather elements (Source 5). Redon’s later landscapes often featured endless horizons and abstracted details like trees and twigs (Source 7), but this 1868 work likely adheres more closely to traditional topographical or naturalistic views common in the Barbizon-influenced French landscape tradition (Source 4). Avoid inventing specific objects; focus on the atmospheric and tonal structure.
step by step
underpainting→first pass→refining→finishing
underpainting
step 01
Mix black, ultramarine, and white with oil of copavia to create a grisaille underpainting. Establish the basic forms and values of the landscape, focusing on the contrast between light and shadow.
Tip — Mentally extract red and yellow colors, visualizing what remains in nature without these hues (Source 1).
Grisaille
step 02
Refine the tonal gradations. Ensure that the juxtaposition of different tones creates a sense of depth and light, as described in the laws of contrast (Source 3).
Tip — Pay attention to how the highest and lowest tones interact at their boundaries to create a natural gradation of light.
Chiaroscuro
first pass
step 03
Once the grisaille is completely dry, begin glazing with transparent coats of color. Introduce yellow and red tones using oil as a medium.
Tip — Apply thin, transparent layers to build up color intensity without obscuring the underlying value structure.
Glazing
refining
step 04
Use scumbling (semi-opaque painting) to adjust tones and create atmospheric effects, such as a 'grey bloom' over darker grounds.
Tip — Scumbling tends to coldness when used over darker grounds, which can be useful for creating misty or distant landscape effects.
Scumbling
step 05
Enhance color brilliance by placing complementary colors in juxtaposition. For example, surround orange tones with blue to make them appear more intense, or soften reds with green surroundings.
Tip — Use complementary colors to modify the aspect of a color without changing the pigment itself (Source 2).
Simultaneous Contrast
finishing
step 06
Apply final glazes with a mixture of varnish and oil to unify the painting and deepen the colors, as practiced by old masters.
Tip — Ensure each layer is dry before applying the next to prevent muddiness.
Varnish Glazing
critical techniques
Glazing and Scumbling
Glazing involves applying transparent coats of color, while scumbling uses semi-opaque layers to allow the underlying painting to show through. These techniques were widely practiced by old masters and are essential for achieving depth and luminosity in oil painting (Source 1).
Simultaneous Contrast
Placing complementary colors next to each other enhances their intensity. For instance, red beside blue makes the red appear more orange and the blue more green. This principle can be used to exaggerate natural phenomena and create vibrant effects (Source 2).
Chiaroscuro via Tone Juxtaposition
Juxtaposing different tones of the same color creates a gradation of light, with the highest tone appearing enfeebled and the lowest tone heightened at the boundary. This creates a natural sense of depth and volume (Source 3).
common pitfalls
- →Applying color before the grisaille underpainting is completely dry, which can lead to muddiness and loss of detail (Source 1).
- →Ignoring the effects of simultaneous contrast, resulting in flat or dull colors. Complementary colors should be used strategically to enhance brilliance (Source 2).
- →Overworking the scumbling layer, which can obscure the underlying value structure and reduce the atmospheric effect (Source 1).
- →Failing to establish a strong tonal foundation in the grisaille, which is crucial for the success of the glazing technique (Source 1, Source 3).
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 *Peyrelebade Landscape* (e.g., exact subject matter, specific objects, or layout) are not described in the provided sources.
- ·Redon’s specific palette choices for this 1868 work are not documented; the guide relies on general traditional oil painting practices and his later documented use of color.
- ·The exact medium and varnish types used by Redon in 1868 are not specified, so modern equivalents are suggested based on historical context.
- ·Preparatory sketches or underdrawing methods for this specific painting are not available 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 — applied to Underpainting, glazing, and scumbling techniques
The Science of Painting↗
- 4. When two colours separated by more than two others — applied to Use of complementary colors and simultaneous contrast
Read more about the corpus on the sources page and how the guides are built on the methods page.
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