plate no. 1582

Rain

Edvard Munch, 1902

oil, canvasExpressionismgenre paintingfigureslandscapebalconytreesbuildingsky

what to study here

It shows how a saturated, loosely handled landscape can carry a scene when dark figures and a few hard edges set up the value structure.

Start with the value structure. The visionGuide describes three zones: near-black figures and balcony railings, a bright middle band of yellows, oranges and reds that reaches near-white in the highlights, and a pale sky. Squint and the man in dark clothing and the woman in green with a red umbrella read as silhouettes against a glowing mid-ground. That contrast holds the composition together. The balcony floor sits in a mid-value that links the dark figures to the landscape, so the transition is not abrupt. Next, look at how edges are controlled. Hard edges appear only on the figures and railings. The trees and landscape are soft and blended, built from broad directional strokes: vertical in the trees, horizontal in the sky, with faint diagonal marks for rain. The trees get their weight from color saturation rather than detail. Try a small value study of these three zones first, then work out where you would hold edges hard and where you would let them dissolve.

key decision

Munch keeps the figures and railings as the darkest, hardest-edged shapes and lets the saturated landscape go soft and lighter, so value contrast, not detail, organizes the picture.

recreation guide

Edvard Munch’s *Rain* (1902) is a quintessential example of his mature Expressionist style, where the external reality is subordinated to internal emotional states. According to art-historical record, Munch sought to paint 'what he has felt, and what has gripped him,' prioritizing essential emotional truth over naturalistic completeness (Source 7). The work likely employs his characteristic use of simplified forms, heavy outlines, and sharp contrasts to create tension, moving away from the impressionistic details of his earlier Paris period toward a more symbolist content that depicts a state of mind rather than an objective scene (Source 7). As a genre painting, it depicts a moment of everyday life, but unlike traditional realist genre scenes, it avoids anecdotal sentimentality in favor of psychological intensity (Source 5, Source 8).

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

4 in sequence

materials

item	purpose	modern equivalent
Oil paints (well-ground)	Primary medium for color application	High-quality tube oils
White palette	To allow correct judgment of color transparency and keep tones light, as advised for oil execution	White ceramic or glass palette
Canvas sized with cheese paste (caséine) or excellent size	To provide a stable, white ground that prevents oil penetration and ensures tone consistency	Pre-primed linen canvas with acrylic gesso or traditional rabbit-skin glue/chalk size
Painting varnish	To seal watercolor underdrawings or act as a ground layer if using the Veronese process	Dammar varnish or synthetic resin varnish
Watercolors (optional for underdrawing)	For creating the initial sketch if using the watercolor-on-canvas method	Standard pan or tube watercolors
Brushes and knives	For applying paint; choice is left to the artist as they do not affect solidity	Hog bristle and synthetic brushes, palette knives

preparation

surface prep

The canvas should be covered with excellent size, preferably white, to ensure that tones have the same effect on the surface as on the palette (Source 2). If using a watercolor underdrawing on canvas sized with cheese paste, one very even coat of painting varnish should be laid over it before it is dry to seal the sizing and allow oil painting to proceed (Source 2). This method, attributed to Paul Veronese, ensures the ground is impervious to oil, preserving the integrity of the colors (Source 2).

underdrawing

The outline may be done in oil or watercolors. If using watercolors on a sized canvas, apply a coat of painting varnish over the sketch to seal it (Source 2). Munch’s practice suggests a focus on 'essential' forms rather than detailed preparatory realism; he calculated compositions to create tension, implying the underdrawing should establish the structural lines that convey emotional weight rather than precise anatomical or architectural detail (Source 7).

underpainting

While specific underpainting techniques for *Rain* are not detailed in the sources, Munch’s general practice involved a variety of brushstroke techniques. The sources advise that the order of copying or studying should address weaknesses; if the artist tends to be 'too much tied down to outline,' they should practice works that encourage departure from strict lines (Source 1). For this recreation, a thin initial layer of color may be applied to establish values, keeping in mind Munch’s tendency to leave works 'not complete' in a naturalistic sense but complete in emotional expression (Source 7).

color palette

Complementary Colors

Varied hues with high contrast

Munch employed complementary colors to create visual tension and emotional impact, a key aspect of his mature style (Source 7).

Sharp Contrasts

High value differences

Used to emphasize form and create the 'heavy outlines' and 'sharp contrasts' characteristic of his symbolist period (Source 7).

Simplified Tones

Broad masses of color

Munch saw only the 'essential,' resulting in simplified forms and color areas that avoid smallness or over-modeling (Source 7, Source 1).

composition

The composition should avoid exact bisections of the picture space and ensure the horizon line does not divide the artwork into two equal parts (Source 3). The prominent subject should be off-center to create balance with smaller satellite elements, preventing the work from becoming a mere pattern (Source 3). Munch calculated his compositions to create tension and emotion, so the arrangement of figures and environment should guide the viewer’s eye around all elements before leading out of the picture, maintaining a center of interest that prevents visual stagnation (Source 3, Source 7). Spaces between objects should vary to create interest (Source 3).

step by step

underdrawing→first pass→refining→finishing

underdrawing

step 01
Prepare the canvas with white size. If using watercolor for the sketch, apply an even coat of painting varnish over the wet sketch to seal it.
Tip — Ensure the varnish soaks in with the sizing before proceeding.
Veronese Process

first pass

step 02
Apply broad masses of color to establish the essential forms. Avoid getting 'tied down to outline' or 'over-modeling.'
Tip — Focus on the emotional essence rather than naturalistic detail.
Broad Masses

refining

step 03
Introduce sharp contrasts and heavy outlines to define forms and create tension. Use complementary colors to enhance emotional impact.
Tip — Check that the composition has a clear center of interest and avoids symmetrical bisections.
Expressionist Contrast

finishing

step 04
Review the work for 'completeness' in terms of emotional expression. Munch considered a work complete once the artist has said everything on their mind, even if it appears 'not complete' naturalistically.
Tip — Ensure no spaces between objects are identical to maintain visual interest.
Essentialism

critical techniques

Emotional Essentialism

Munch paints only the 'essential,' subordinating all else to what he has felt. This involves simplifying forms and using color to convey state of mind rather than external reality.

Sealed Underdrawing

Using painting varnish over watercolor sketches on sized canvas to allow immediate oil application without damaging the ground.

Compositional Tension

Calculating composition to avoid bisections and create off-center balance, guiding the eye through varied spaces.

common pitfalls

→Over-modeling or becoming too tied down to the outline, which contradicts Munch’s simplified, essential style (Source 1).
→Creating exact bisections in the composition or placing the horizon line in the center, which weakens visual impact (Source 3).
→Attempting naturalistic completeness, which misses the point of Munch’s expressionist goal to depict internal states (Source 7).
→Using a non-white palette or ground, which can distort color judgment and transparency (Source 2).

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 pigment palette used by Munch for *Rain* (1902) is not detailed in the sources; general expressionist palettes are inferred.
·Exact brushstroke techniques for this specific painting are not described; general Munch practices are applied.
·Specific visual details of *Rain* (e.g., figure placement, background elements) are not described in the sources, so compositional advice is generalized based on Munch’s style and general composition principles.

grounded in

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

The Science of Painting↗
- Chapter IX. Outline and Execution of a Picture in Oils — applied to Surface preparation, underdrawing sealing, and palette advice
The Practice of Oil Painting↗
- On Copying — applied to Advice on avoiding over-modeling and focusing on broad masses

cross-referenced from

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

Wikipedia: Edvard Munch↗
- Part 5 — applied to Artist’s style, emotional essentialism, and use of contrast
Wikipedia: Composition (visual arts)↗
- Part 6 — applied to Compositional rules regarding bisection, horizon lines, and eye movement

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 composition anchors on a balcony railing in the immediate foreground, looking outward toward a vivid landscape. Two figures stand center-right—a man in dark clothing and a woman in green holding a red umbrella, their dark silhouettes contrasting sharply against the luminous middle distance. The eye travels past them to the landscape's explosive oranges, yellows, and reds in the stylized trees, which occupy the entire middle band and draw attention through color saturation rather than detail. The pale sky above and the suggestion of rain streaks throughout create an overcast, melancholic atmosphere. A red-roofed structure anchors the right edge.

value structure

The painting organizes into three clear value zones: dark foreground figures and balcony railings (near black), bright middle-ground landscape (yellows, warm oranges reaching near-white in highlights), and pale, luminous sky. Squint and you see the figures as dark silhouettes against a glowing mid-ground; this contrast is the compositional spine. The balcony floor sits in a mid-value zone that bridges the dark figures and the landscape, preventing harsh separation.

observed palette and mixes

#d1d9ce
Titanium white + touch of yellow ochre
Sky, pale highlights in landscape, balcony bright areas
#b09e6a
Yellow ochre + raw sienna + white
Balcony railings, foreground floor warm tones
#b47f53
Burnt sienna + yellow ochre
Mid-tone landscape areas, building structure on right
#7e7d52
Ultramarine + yellow ochre + touch of alizarin
Foliage greens on left and right, muted landscape areas
#64493d
Ultramarine + burnt sienna + ivory black
Dark clothing of figures, tree trunks, umbrella, shadows
#bbbb93
Yellow ochre + ultramarine + white
Muted greens and olive tones in garden and middle-distance foliage

edges and brushwork

Munch's handling is loose and gestural—the trees are rendered with broad, directional strokes that suggest form without describing detail. Hard edges appear only in the figures and balcony railings; everywhere else, especially in the landscape, edges are soft and blended. The brushwork follows the energy of the scene: vertical strokes in the trees, horizontal sweeps in the sky, and subtle diagonal marks suggesting rain.

a working sequence

01
Establish the underpainting and value skeleton
Sketch the composition lightly in charcoal, marking the balcony railing line, the silhouettes of the two figures, and the horizon where landscape meets sky. Establish that the figures will be your darkest darks and the sky/bright landscape will be lightest. Block in the main value groups with thin washes: pale cream for sky and bright landscape areas, medium ochre for the balcony, and near-black for the figures and tree shadows.
02
Paint the sky and distant landscape atmosphere
Work the pale sky with soft horizontal strokes, using titanium white with minimal color to keep it luminous. Let it fade slightly warmer toward the horizon. Below, establish the landscape's dominant warm yellows and pale ochres; this area should feel bright and atmospheric, not detailed. Use loose, vertical strokes to suggest trees without rendering individual forms.
03
Block in the expressive trees and middle-ground colors
Attack the tree mass with bold, gestural strokes in burnt sienna, yellow ochre, and touches of ultramarine. Build the oranges and yellows first, allowing them to dominate; add reds and darker tones for shadows and depth. The trees should feel spontaneous—let the strokes show. Suggest foliage with downward flicks and dabs; don't render individual branches, but allow a few dark trunk lines to anchor the composition.
04
Establish the figures as dark focal anchors
Paint the man's coat and the woman's hat in deep near-black, using ultramarine mixed with burnt sienna. Keep edges soft where they meet the landscape behind them, allowing slight overlap so they read as receding into space. The woman's red umbrella should pop against this darkness with a clear, warm red—alizarin crimson or similar. Block the woman's green dress with muted green (ultramarine + ochre + touch of white), warmer in tone than expected to feel cohesive.
05
Develop the foreground balcony and potted plants
Paint the wooden balcony railings in warm ochre and tan, using horizontal and vertical strokes that suggest structure without overshadowing the landscape. The floor should read as a mid-value warm tan, slightly darker at the base of the figures. Add the potted plant on the left with green foliage and suggestion of flowers (use touches of red and white); keep it loose so it frames rather than competes.
06
Suggest rain and refine atmospheric mood
Add subtle diagonal streaks or suggestions of rain across the landscape using pale tinted glazes or thin vertical marks—this is more about rhythm and mood than literal rendering. Ensure the pale sky has soft, wispy cloud suggestions. Let some warm and cool tones merge throughout to unify the composition and suggest overcast, humid conditions.
07
Adjust relationships and deepen key shadows
Step back and check your value structure: the figures should remain your strongest darks, the landscape bright and warm, the sky pale and cool. Darken any tree shadows that feel unclear, strengthen the definition between the dark figures and bright landscape, and ensure the balcony floor supports the composition without flattening it. Add final touches to the red building on the right to anchor that corner.
08
Final pass: soft edges and subtle details
Soften hard edges throughout the landscape with dry-brush blending or light glazes. The balcony railings should feel present but not harsh. The woman's face and the man's silhouette need just enough detail to suggest presence without fighting the composition's focus on mood and atmosphere. A final glaze of cool tone over portions of the landscape can enhance the rain-soaked feeling.

where studies of this painting go wrong

Rendering the trees too literally—they'll look cartoonish and lose their atmospheric expressiveness. Keep the brushwork loose and gestural; suggest, don't describe.
Losing the value contrast between the dark figures and the bright landscape. This contrast is your compositional anchor; if the figures blend into the background, the painting collapses.
Overworking the foreground and plants, which should frame and support but never compete for attention. Keep that area subordinate through looser handling and softer edges.
Using pure greens and yellows without warmth or earthy undertones; the landscape needs ochres and siennas mixed in to feel cohesive and weather-worn, not naive.
Forgetting the rain in pursuit of figures and landscape—subtle directional marks, pale glazes, and a sense of moisture in the air are essential to the painting's identity.

measured difficulty