plate no. 7546
Portrait of Marie Breunig
Gustav Klimt, 1894
recreation guide
Portrait of Marie Breunig (1894) represents Gustav Klimt’s work during his 'Realist' period, prior to his full embrace of the Symbolist and decorative styles associated with the Vienna Secession. This work is characterized by a serious, closed-lip expression and a focus on capturing the inner essence and moral quality of the subject rather than mere photographic likeness (Source 3). The painting adheres to the academic standards of the time, requiring the artist to be a 'sound craftsman' with a deep knowledge of medium and expression (Source 1). Unlike his later works which were criticized for radical themes and overt sexuality (Source 4), this portrait reflects a more traditional approach to portraiture, likely aiming for a flattering representation that reveals character through subtle emotional cues in the eyes and eyebrows (Source 3).
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 the portrait | — |
| Canvas | Support surface | Linen or cotton canvas, primed |
| Brushes | Application of paint, ranging from broad masses to fine finish | Hog bristle and sable brushes |
| Palette knives | Mixing colors and applying thick impasto if needed | — |
| Solvents (Turpentine/Oil) | Thinning paint and cleaning brushes | Odorless mineral spirits or linseed oil |
preparation
surface prep
The canvas should be prepared with a traditional ground, likely a white or light-toned gesso, to allow for the layering of oil paints. Klimt’s early realist work suggests a traditional academic preparation, ensuring the surface is smooth enough for the 'finish' required in realist portraiture (Source 1).
underdrawing
While specific preparatory drawings for this portrait are not detailed in the sources, academic practice of the time involved careful drawing to establish form. The artist should aim for 'artistic accuracy' rather than scientific precision, capturing the emotional significance of the subject’s form (Source 7). The underdrawing should be light and flexible, allowing for adjustments in the final painting.
underpainting
A grisaille or tonal underpainting may be used to establish values and composition before applying color. This technique helps in harmonizing the colors and managing the contrast of light and shadow, which is crucial for realist portraiture (Source 8).
color palette
Earth tones (ochres, umbers)
Natural ochres, burnt umber
General use in this artist's palette for skin tones and shadows, consistent with traditional realist practice
White
White lead or titanium white
Highlights and mixing to adjust tone
Black
Ivory black or lamp black
Deep shadows and defining features
Reds/Yellows
Red ochre, yellow ochre
Flesh tones and clothing details, if applicable
composition
The composition likely follows traditional portrait conventions, possibly a 'head and shoulders' or 'half-length' view, with the subject’s head turned in a three-quarter view to reveal character (Source 3). The focus is on the face, particularly the eyes and eyebrows, which convey the subject’s inner essence (Source 3). The background is likely neutral or simple to avoid distracting from the subject.
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Lightly sketch the basic proportions and pose of the subject on the prepared canvas.
Tip — Focus on the overall structure rather than fine details.
Academic drawing
underpainting
step 02
Apply a monochromatic underpainting to establish values and light/shadow relationships.
Tip — Ensure the tonal values are accurate before adding color.
Grisaille
first pass
step 03
Begin applying color in broad masses, focusing on the overall harmony of the composition.
Tip — Use the law of simultaneous contrast to adjust colors based on their surroundings (Source 2).
Alla prima or layered glazing
refining
step 04
Refine the details, particularly the eyes and eyebrows, to convey the subject’s character and inner essence.
Tip — Pay attention to the subtle emotions expressed through the eyes (Source 3).
Glazing and scumbling
finishing
step 05
Add final touches and adjustments to ensure the portrait captures the likeness and character of the subject.
Tip — Avoid over-modeling; maintain a balance between detail and overall harmony (Source 1).
Fine brushwork
varnishing
step 06
Apply a protective varnish once the painting is completely dry.
Tip — Use a high-quality damar or synthetic varnish.
Varnishing
critical techniques
Simultaneous Contrast
Adjusting colors based on their interaction with adjacent colors to achieve harmony and accuracy (Source 2).
Artistic Accuracy
Capturing the emotional significance of the subject rather than just physical likeness (Source 7).
Character Expression
Conveying the subject’s inner essence through the eyes and eyebrows (Source 3).
common pitfalls
- →Over-modeling or becoming too tied to the outline, which can make the portrait appear stiff (Source 1).
- →Ignoring the effects of simultaneous contrast, leading to inaccurate color perception (Source 2).
- →Focusing too much on physical likeness at the expense of capturing the subject’s character and inner essence (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 details of Marie Breunig’s appearance, clothing, and background are not described in the sources.
- ·Exact pigment palette used by Klimt for this specific painting is not detailed.
- ·Specific preparatory sketches or studies for this portrait are not mentioned.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- ON COPYING — applied to General technique and avoiding over-modeling
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and simultaneous contrast
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to Artistic accuracy vs. scientific accuracy
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Underpainting and color substances
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Portrait painting↗
- part 2 — applied to Character expression and composition
Wikipedia bio — Gustav Klimt↗
- part 4 — applied to Context of Klimt’s realist period
Read more about the corpus on the sources page and how the guides are built on the methods page.
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