plate no. 3967

Portrait of Louis Roy

oil, canvasCloisonnismportraitportraitmanbeardfigurebackgroundclothing

what to study here

It shows how a strong light-shadow split, side-by-side warm strokes, and a hierarchy of hard and soft edges can model a head against a saturated blue ground.

Study how the head is built from a few large value zones. Squinted, the vision analysis finds three: deep dark in the Prussian blue background and navy clothing, warm mid-dark in the beard and face shadows, and light on the forehead and cheekbone planes. The left side of the face takes warm light and the right side falls into cooler shadow, so the head reads as solid without smooth blending. Look at the beard. It is painted with directional strokes in several warm hues (golden yellows, oranges, reds, browns) placed side by side rather than mixed, and it sits against the dark neck and shoulders. Note the edge hierarchy too: hard edges along the nose and beard outline, softer transitions on the cheeks and forehead. The background moves from Prussian blue on the left to teal-green on the right, and faces or sketched artworks appear behind the figure. Copy the pale forehead and blue eyes as the first point of attention, then follow the eye down into the beard.

key decision

Gauguin set a warm, lit face and golden-reddish beard against a dark Prussian blue background, with the light-shadow split across the face carrying the volume. Visible directional strokes, not blending, build the beard.

From the record

Dimensions: 40.5 cm high × 32.5 cm wide
Inception: 1891
Materials: oil paint, canvas

Louis George Eléonor Roy

Wikidata item Q67159740

recreation guide

Portrait of Louis Roy (1893) is a work executed in the Cloisonnist style, characterized by flat areas of pure color separated by heavy black outlines, reminiscent of medieval cloisonné enameling (Source 2). This approach marks a decisive break from Impressionism, as Gauguin sought to capture the 'soul of nature' and ancient truths rather than surface reality (Source 1). The painting likely employs analogous colors in close proximity to achieve a muted, harmonious effect, while emphasizing major forms and upright lines to define shape and contour with 'bare emotional purity' (Source 1). The composition is calculated to create 'symphonies and harmonies' through the arrangement of lines and colors, stimulating the imagination rather than providing a direct realistic representation (Source 1).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

4 in sequence

materials

item	purpose	modern equivalent
Oil paints (pure pigments)	To create flat areas of pure color without subtle gradations	—
Canvas	Support for the oil painting	—
Black pigment (e.g., Ivory Black or Lamp Black)	To create the bold, heavy outlines characteristic of Cloisonnism	—
Linseed oil or similar medium	To bind pigments and allow for glazing if necessary, though Cloisonnism favors opacity	—

preparation

surface prep

Standard oil painting ground preparation. While specific priming methods for this exact canvas are not detailed in the sources, Gauguin’s move away from Impressionism involved a rejection of subtle tonal gradations, suggesting a ground that supports flat, opaque color application rather than transparent layering typical of earlier periods (Source 2).

underdrawing

Gauguin’s work in this period emphasizes 'major forms and upright lines to clearly define shape and contour' (Source 1). The underdrawing likely served to establish these bold outlines, which would later be filled with flat color. The sources do not specify if the drawing was left visible or covered, but the final effect relies on the 'heavy black outlines' separating color areas (Source 2).

underpainting

The sources do not explicitly describe an underpainting technique for this specific portrait. However, Gauguin’s general practice involved 'elaborate formal decoration and colouring in patterns of abstraction' (Source 1). In Cloisonnism, the focus is on the final flat color fields, so an underpainting may have been minimal or used only to establish the compositional structure before applying the pure colors (Source 2).

color palette

Analogous Colors

Pure pigments mixed to maintain saturation

General use in this artist's palette to achieve a muted effect and harmonize man and nature (Source 1)

Black

Pure black pigment

Heavy outlines to separate areas of pure color, mimicking cloisonné enameling (Source 2)

Pure Colors

Unmixed or minimally mixed pigments

Flat areas of color, avoiding subtle gradations (Source 2)

composition

The composition likely features 'compositional austerity' influenced by Japanese prints and folk art, with an emphasis on 'major forms and upright lines' (Source 1). Gauguin’s approach was 'carefully considered and calculated in advance,' treating the subject as a pretext for creating 'symphonies and harmonies' through the arrangement of lines and colors (Source 1). The portrait aims for 'bare emotional purity' and a straightforward conveyance of the subject’s essence, rather than realistic detail (Source 1).

step by step

underdrawing→first pass→refining→finishing

underdrawing

step 01
Sketch the major forms and upright lines of the subject, focusing on contour and shape definition rather than realistic detail.
Tip — Emphasize bold, clear lines that will later serve as boundaries for color fields.
Cloisonnist outline

first pass

step 02
Apply flat areas of pure color within the outlined shapes, avoiding subtle gradations or blending.
Tip — Use analogous colors in close proximity to achieve a muted, harmonious effect.
Cloisonnism

refining

step 03
Reinforce the black outlines to ensure they are heavy and distinct, separating the color areas clearly.
Tip — Ensure the outlines are consistent and bold, reminiscent of medieval cloisonné.
Cloisonné enameling technique

finishing

step 04
Review the composition for 'symphonies and harmonies' of lines and colors, ensuring the arrangement stimulates the imagination rather than depicting reality directly.
Tip — Check that the colors and lines work together to create an independent existence and vitality.
Synesthesia

critical techniques

Cloisonnism

Using flat areas of pure color separated by heavy black outlines, inspired by medieval cloisonné enameling and Japanese prints.

Analogous Color Harmony

Placing analogous colors in close proximity to achieve a muted effect and harmonize the composition.

Non-representational Color

Using color to create 'symphonies and harmonies' that have no counterparts in reality, stimulating the imagination.

common pitfalls

→Attempting to use subtle gradations of color or classical perspective, which Gauguin explicitly eliminated in his Cloisonnist works (Source 2).
→Focusing on realistic likeness rather than the 'bare emotional purity' and 'soul of nature' (Source 1).
→Over-mixing colors, which can lead to a loss of saturation and purity, contrary to the goal of using 'pure color' (Source 2, Source 4).

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 of Louis Roy’s appearance, clothing, or pose are not described in the sources, so the recreation must rely on general Cloisonnist principles rather than specific visual replication.
·The exact color palette used for this specific portrait is not detailed, so the artist must infer analogous colors based on Gauguin’s general practice.
·The specific underpainting or ground preparation techniques for this canvas are not documented in the provided sources.

grounded in

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

Laws of Contrast of Colour↗
- Color Theory — applied to Understanding color interactions, though not directly cited for specific steps, it informs the general approach to color harmony.

cross-referenced from

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

Wikipedia bio — Paul Gauguin — part 25↗
- General Practice and Cloisonnism — applied to Overview, color palette, composition notes, and step-by-step process regarding analogous colors and non-representational color.
Wikipedia bio — Paul Gauguin — part 6↗
- Development of Cloisonnism — applied to Overview, materials list, step-by-step process, and critical techniques regarding flat color and black outlines.
Wikipedia: Color theory↗
- Color Mixing — applied to Warning against over-mixing colors to maintain saturation.

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

The portrait presents a bearded man in three-quarter view, head tilted slightly downward and to the right, dominating the composition. Warm light rakes across from the left, creating a luminous face and beard set against a dramatic Prussian blue background that shifts to teal-green on the right. The eye travels first to the striking pale forehead and blue eyes, then down through the voluminous golden-reddish beard that anchors the lower half. Behind the figure, sketched faces or artworks appear in the background, suggesting an artist's studio setting.

value structure

The darkest darks are concentrated in the Prussian blue background on the left and the deep navy clothing at the shoulders and neck. The face sits in a clear light-shadow split: the left side of the face catches warm light (pale peachy-cream), while the right side recedes into cooler shadow. The beard operates in mid-to-light values, glowing with golden yellows and warm oranges against the dark neck and shoulders. When squinted, three distinct value zones emerge: deep dark (background and clothing), warm mid-dark (beard shadows and face shadows), and light (forehead and cheekbone planes).

observed palette and mixes

#101521
Prussian blue + burnt umber + touch of black
Deepest background shadows on the left, dark clothing folds
#1e2531
Prussian blue + cadmium red + white
Background transition on the right side, shadow areas within clothing
#442829
Burnt umber + cadmium red + touch of Prussian blue
Beard shadows, ear shadow, dark contour lines
#534943
Yellow ochre + burnt umber + Prussian blue
Mid-tone beard areas, nose shadow, cheek modeling
#9a7c5f
Yellow ochre + cadmium red + titanium white
Primary flesh tone, lighter beard strokes, face mid-tones
#d0b799
Titanium white + yellow ochre + touch of cadmium red
Forehead highlights, cheekbone lights, brightest beard touches
#4a9dbe
Prussian blue + viridian + touch of titanium white
Background teal-green on right, iris color

edges and brushwork

Brushwork is deliberately visible and expressive throughout—strokes follow the form of the beard and face rather than blending smoothly into sfumato. Hard edges define the profile, particularly along the nose and beard outline, reflecting the Cloisonnism style with its color planes separated by linear definition. The beard receives directional strokes in multiple warm hues that sit adjacent rather than mixed, while the face shows slightly softer transitions in the cheeks and forehead, creating a hierarchy between the drawing-like precision of features and the more painterly handling of volume.

a working sequence

01
Composition and value underpainting
Lightly sketch the head proportions and placement—note the slight tilt and downward gaze. Block in the entire background with Prussian blue on the left, shifting to teal-green on the right. Establish the darkest values: navy clothing around the neck and shoulders, and dark shadow areas on the right side of the face. Use thin, diluted pigment so underpainting doesn't interfere with layers.
02
Establish flesh foundation
Mix a warm mid-tone flesh color (yellow ochre + cadmium red + white) and block in the face, leaving the beard area. Note that the left side of the face catches light and should be lighter and warmer, while the right side is shadowed with more burnt umber and cooler undertones. Keep this layer loose and broad.
03
Lay in the beard structure
Begin the beard with warm yellows and golden oranges in the lit areas (center and lower portions), moving to darker oranges and burnt sienna in the shadow areas on the right and underneath. Use directional strokes that follow the hair growth. Don't mix these warm colors completely on the palette—let them sit adjacent to create optical richness.
04
Model the face with shadow
Add cooler, darker tones to the right side of the face and under the chin using burnt umber + Prussian blue. Define the nose clearly with a strong shadow on the right side. Add cheek modeling with yellow ochre + burnt sienna. The jaw should show dimension where it meets the beard. Work carefully around the blue eyes, which are already striking.
05
Refine facial features
Paint the eyes with pale blue iris, dark pupil, and warm surrounding flesh. Define the eyebrows with dark brown strokes. Articulate the nose, mouth, and ear carefully—the ear should be warm peachy-brown with soft shadows. Add any subtle pinkish undertone to the cheeks and nose tip. Ensure the expression reads correctly through careful feature placement.
06
Develop beard depth and color variation
Build up the beard with multiple overlapping strokes. Layer golden yellows over orange, add warm reds in the upper and outer areas, and deepen shadows with burnt sienna and cooler tones. The beard should feel three-dimensional with a clear light side and shadow side. Use less blending and more visible layered strokes to match the painting's expressiveness.
07
Highlights and final luminosity
Add light titanium white + ochre to the forehead and the highest points of the cheekbones. Place bright touches of pale color in the beard's lit areas, particularly in the center. Subtly warm the right side of the face where warm reflected light catches it. Step back frequently to check that the light logic reads clearly across the whole head.
08
Final edges and background refinement
Sharpen edges around the profile and key features. Refine the background color transition from deep blue to teal, and if visible in your reference, suggest the sketched figures on the right. Adjust the intensity of the blue background if needed to make the face read forward. Review the whole painting for color harmony and value balance before declaring it complete.

where studies of this painting go wrong

Making the beard a single muddy brown instead of a vibrant mix of golden yellows, warm oranges, reds, and browns—each color should read distinctly and add warmth to the whole composition.
Overblending the face into smooth sfumato, which contradicts the bold, graphic Cloisonnism style of the original—let brushstrokes remain visible, especially in the beard and shadow areas.
Dulling the background by mixing too much or using insufficient pigment—the Prussian blue must be rich and decisive to provide contrast with the warm face, and the teal transition should be vivid.
Failing to capture the asymmetrical light-shadow split on the face; if the light side is not distinctly warmer and lighter than the shadow side, the head will look flat and lose its three-dimensional presence.
Making the eyes too glossy or lifeless; they need clear iris color, visible pupil depth, and warm skin tone around them to feel alive and engage the viewer.

measured difficulty