plate no. 1510
Peyrlebade
Odilon Redon, 1888
recreation guide
Odilon Redon’s *Peyrlebade* (1888) represents a pivotal moment in his transition from the 'noirs' (charcoal and lithograph works) to his mature oil painting practice. While the provided sources do not describe the specific visual content of this landscape, Redon’s work from this period is characterized by a shift toward lyrical chromatics and a departure from stylized naturalism (Source 7). The painting likely employs the rich, dense color and layering capabilities inherent to oil painting, which allow for a wider range from light to dark and greater flexibility in texture (Source 2). Redon’s approach to color during this era was influenced by the principles of simultaneous contrast, where colors modify one another based on their proximity, creating harmonious yet complex visual tensions (Source 4).
estimated time
20-30 hours over 5-7 sessions
materials
6 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Canvas or wood panel | Support for the painting | Primed linen or cotton canvas |
| Linseed oil or poppy seed oil | Binder for pigments; linseed for faster drying, poppy for slower drying and less yellowing | Refined linseed oil or cold-pressed poppy oil |
| Turpentine or petroleum volatile | Thinner for initial layers and cleaning | Odorless mineral spirits or Gamsol |
| Oil paints (Ultramarine, White, Black, plus red/yellow earth tones) | Primary pigments for grisaille and glazing | Standard tube oil paints |
| Painting varnish (e.g., copal varnish) | Medium for glazing and final protection | Dammar or synthetic resin varnish |
| White palette | To ensure correct judgment of color transparency and tone | White ceramic or glass palette |
preparation
surface prep
The surface should be sized with an excellent size, such as cheese paste (casein), to create a stable ground. If using canvas, it should be covered with this size to prevent oil penetration into the weave. The sizing should be white to ensure that tones have the same effect on the canvas as they do on the palette, aiding in accurate color judgment (Source 3).
underdrawing
The outline may be executed in oil or watercolors. If using watercolors on a sized canvas or panel, a very even coat of painting varnish should be laid over the sketch before it dries; this varnish will partly soak into the sizing, allowing the oil painting to proceed immediately (Source 3). This method, attributed to Paul Veronese, ensures the underdrawing is sealed and integrated into the ground.
underpainting
A monochrome underpainting (grisaille) is likely employed. The artist should mentally extract red and yellow colors, painting the composition in tones that would remain if those colors were absent from nature. This grisaille should be allowed to dry completely before proceeding (Source 1). This technique establishes the value structure and form before color is introduced.
color palette
Ultramarine
Pure ultramarine pigment
Part of the initial grisaille mixture with black and white (Source 1)
White
Lead white or zinc white
Highlighting and mixing in the grisaille stage (Source 1)
Black
Ivory black or lamp black
Shadows and depth in the grisaille stage (Source 1)
Red/Yellow Tones
Vermilion, cadmium yellow, or earth tones
Glazing and scumbling over the dry grisaille to introduce color (Source 1)
Grey Bloom
Semi-opaque grey mixture
Creating atmospheric effects and coldness when scumbled over darker grounds (Source 1)
composition
While specific compositional details of *Peyrlebade* are not described in the sources, landscape painting generally involves arranging natural scenery—mountains, valleys, trees, or skies—into a coherent composition (Source 5). Redon’s later work is noted for being 'released from stylized naturalism,' suggesting that the composition may prioritize lyrical chromatic harmony over strict topographical accuracy (Source 7). The artist should consider the law of simultaneous contrast, ensuring that adjacent colors enhance each other’s intensity and harmony (Source 4).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the outline of the landscape using watercolors or oil. If using watercolors on sized canvas, apply a coat of painting varnish over the sketch to seal it.
Tip — Ensure the varnish soaks into the sizing before proceeding.
Veronese’s varnish seal method
underpainting
step 02
Create a grisaille underpainting using only black, ultramarine, and white. Mentally exclude red and yellow tones to establish the value structure.
Tip — Allow the grisaille to dry completely before adding color.
Monochrome grisaille
first pass
step 03
Begin glazing and scumbling with oil. Apply transparent coats of red and yellow tones over the dry grisaille, similar to tinting an engraving with watercolors.
Tip — Use a white palette to judge the transparency and tone of the colors accurately.
Glazing
refining
step 04
As mastery increases, mix varnish with oil for subsequent glazes. Use scumbling (semi-opaque painting) to create grey blooms or atmospheric effects, especially over darker grounds.
Tip — Be aware that scumbling over dark grounds tends to produce coldness.
Scumbling
finishing
step 05
Apply final layers to harmonize colors based on the law of simultaneous contrast, ensuring that adjacent colors modify each other appropriately.
Tip — Check for color fatigue; rest eyes to avoid misjudging hues due to mixed contrast.
Simultaneous contrast
varnishing
step 06
Apply a final varnish to protect the painting and enhance the depth of the glazes.
Tip — Ensure the painting is completely dry before varnishing.
Varnishing
critical techniques
Glazing
Applying transparent coats of color over a dry underpainting to build depth and luminosity. Redon likely used this to achieve the rich, dense color characteristic of his mature oils.
Scumbling
Using semi-opaque paint to allow the underlying layer to show through, creating texture and atmospheric effects like grey blooms.
Simultaneous Contrast
Adjusting colors based on their interaction with adjacent hues to achieve harmony and accurate perception of light modifications.
common pitfalls
- →Applying oil paint before the grisaille is completely dry, which can lead to cracking or muddiness (Source 1).
- →Ignoring the law of simultaneous contrast, resulting in colors that appear dull or inaccurate due to eye fatigue and mixed contrast effects (Source 4).
- →Using a non-white palette, which can distort the judgment of color transparency and tone (Source 3).
- →Over-thinning watercolor underdrawings on unpolished wood, risking misadventure with the wood grain (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 *Peyrlebade* (e.g., exact landscape features, sky conditions) are not described in the sources.
- ·Redon’s specific pigment choices for this 1888 work are not detailed; the guide assumes general period practices.
- ·The exact ratio of oil to varnish in Redon’s glazes is not specified, requiring artist experimentation.
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 Science of Painting↗
- OUTLINE AND EXECUTION OF A PICTURE IN OILS — applied to Surface preparation, underdrawing, and palette usage
Laws of Contrast of Colour↗
- Simultaneous Contrast — applied to Color harmony and perception adjustments
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to General materials and advantages of oil medium
Wikipedia bio — Odilon Redon↗
- Odilon Redon — part 4 — applied to Artist’s stylistic shift and lyrical chromatics
Read more about the corpus on the sources page and how the guides are built on the methods page.
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