plate no. 1582
Rain
Edvard Munch, 1902
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.
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