Self-Portrait

surface prep

The artwork is on board, consistent with the historical use of wood panels for oil painting (Source 1). The surface should be prepared to accept oil paint, likely involving a ground layer. While specific priming methods for this exact 1882 piece are not detailed in the sources, traditional practice involves sealing the wood to prevent oil absorption and providing a smooth or textured surface for the paint layers.

underdrawing

Begin by drawing and shading in charcoal. Use a dry brush to model the forms initially. It is critical to make all corrections in the charcoal stage, as charcoal offers little resistance to a brush and can be easily removed with bread. Do not put down paint with obvious errors in construction or drawing, as correcting in paint is fatal to lucidity (Source 7). Hold the brush against the model’s face (or reference) to ascertain length and proportions, making the study slightly smaller than life (Source 7).

underpainting

Set the palette with raw umber and a softer white, using turpentine to thin the paint. This monochromatic or limited palette underpainting helps establish values and composition before introducing full color. The instruction to paint with the idea of going over the study at least three or four times suggests a layered approach rather than a single wet-on-wet application (Source 7).

Simultaneous Contrast

Using juxtaposed colors to alter perceived tone and intensity. For example, placing red beside blue makes the red verge on orange and the blue verge on green. This allows the artist to intensify or soften colors without changing the pigment itself.

Layering

Oil painting allows for the use of layers, providing richer and denser color. The artist should plan for multiple passes (3-4 times) to build up the image gradually.

Charcoal Correction

Using charcoal for the initial drawing and shading allows for easy correction with bread before paint is applied, preserving the lucidity of the final work.