plate no. 5672

Sketch of Curtain For The Representation Of Don Juan Tenorio Treatal In Theater

oilArt Nouveau (Modern)sketch and studyarchitecturestatuesfigurescurtaintheaterinterior

recreation guide

This artwork is an oil sketch and study for a theatrical curtain design, specifically for the representation of Don Juan Tenorio. As a study, it prioritizes the structural rhythm and mass of the drapery over high-finish detail, consistent with the Art Nouveau (Modern) style’s emphasis on line and decorative composition. The work likely employs a methodical approach to color and form, potentially utilizing a monochrome underpainting (grisaille) to establish values before applying transparent glazes, a technique documented in traditional oil painting practices that align with the 'old masters' methods referenced in the sources. The composition relies on the interplay of light and shadow (chiaroscuro) to define the volume of the fabric, using contour lines to emphasize the flow and weight of the curtain rather than minute textural details.

estimated time

10-15 hours over 3-4 sessions

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (Black, Ultramarine, White)	For the initial grisaille underpainting to establish values and forms without color distraction.	Standard tube oils: Ivory Black, Ultramarine Blue, Titanium White.
Oil paints (Red and Yellow tones)	For glazing and scumbling to introduce color and warmth, simulating the rich hues of theatrical velvet or silk.	Alizarin Crimson, Cadmium Yellow, or similar transparent/semi-transparent pigments.
Oil of Copavia (or modern linseed/walnut oil)	Medium for the first and second paintings to ensure proper flow and drying characteristics.	Stand oil or refined linseed oil.
Canvas or Panel	Support for the oil sketch.	Primed linen or cotton canvas.
Brushes (Flat and Filbert)	For applying broad masses in the underpainting and finer glazes in the finishing stages.	Hog bristle for underpainting, sable or synthetic for glazing.

preparation

surface prep

The surface should be prepared with a ground suitable for oil painting. While specific preparation for Saenz de Tejada is not detailed in the sources, traditional practice suggests a stable, slightly absorbent ground to allow for the layering of glazes. Ensure the surface is clean and free of dust before beginning the underdrawing.

underdrawing

Begin with a contour drawing to establish the outline and mass of the curtain folds. Use light, continuous lines to define the shape and volume, focusing on the rhythmic flow of the fabric rather than intricate details. This approach aligns with the principle that contour drawing emphasizes mass and volume, serving as a strong foundation for the painting (Source 6).

underpainting

Apply a grisaille (monochrome) underpainting using black, ultramarine, and white mixed with oil of copavia. This step establishes the chiaroscuro and value structure of the curtain, allowing the artist to focus on light and shadow without the complexity of color. This method is supported by Sir Joshua Reynolds’ practice of using these specific colors for the first and second paintings (Source 1).

color palette

Black

Ivory Black

Underpainting shadows and defining deep folds in the grisaille stage.

Ultramarine

Ultramarine Blue

Underpainting mid-tones and cool shadows in the grisaille stage.

White

Titanium White or Lead White (historical)

Underpainting highlights and mixing with black/blue for value range.

Red Tones

Transparent red pigments (e.g., Alizarin)

Glazing over the grisaille to add warmth and richness to the curtain fabric.

Yellow Tones

Transparent yellow pigments (e.g., Yellow Ochre or Cadmium)

Glazing and scumbling to introduce highlights and color variations.

composition

The composition likely utilizes the principles of simultaneous contrast and chiaroscuro to enhance the visual impact of the curtain folds. By juxtaposing light and dark tones, the artist creates a gradation of light that gives depth and volume to the fabric (Source 3). The rhythmic lines of the drapery guide the viewer’s eye, avoiding static corners by using curved lines to create movement and interest (Source 8).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the outline of the curtain folds using light, continuous lines. Focus on the overall shape and flow, ensuring the lines convey mass and volume.
Tip — Avoid getting bogged down in details; keep the lines fluid and expressive.
Contour Drawing

underpainting

step 02
Mix black, ultramarine, and white with oil of copavia. Apply this mixture to create a grisaille underpainting, establishing the light and shadow structure of the curtain.
Tip — Ensure the grisaille is quite dry before proceeding to the next step to prevent muddying the colors.
Grisaille

first pass

step 03
Begin glazing and scumbling with red and yellow tones over the dry grisaille. Apply thin, transparent layers of color to build up the richness of the fabric.
Tip — Use oil at first, and later mix with varnish for greater transparency and depth.
Glazing and Scumbling

refining

step 04
Refine the color contrasts by observing the simultaneous contrast between adjacent areas. Adjust the tones to ensure the lightest areas appear lighter and the darkest areas appear darker, enhancing the three-dimensional effect.
Tip — Be mindful of how adjacent colors influence each other; adjust hues to maintain harmony and depth.
Simultaneous Contrast

finishing

step 05
Add final details and adjustments to the highlights and shadows. Ensure the rhythmic lines of the curtain are clear and the overall composition is balanced.
Tip — Step back frequently to assess the overall effect and make any necessary corrections.
Chiaroscuro

critical techniques

Grisaille Underpainting

Used to establish the value structure and form of the curtain before introducing color. This method allows for precise control over light and shadow, as practiced by old masters and recommended by Reynolds (Source 1).

Glazing and Scumbling

Applied over the dry grisaille to add color and depth. Glazing involves transparent layers, while scumbling uses semi-opaque paint to create texture and variation (Source 1).

Simultaneous Contrast

Used to enhance the visual impact of adjacent colors and tones. By understanding how colors influence each other, the artist can create more vibrant and harmonious compositions (Source 2).

Chiaroscuro

Employed to create depth and volume through the gradation of light and shadow. This technique is essential for rendering the three-dimensional form of the curtain folds (Source 3).

common pitfalls

→Applying color before the grisaille is completely dry, which can lead to muddying and loss of clarity (Source 1).
→Ignoring the effects of simultaneous contrast, resulting in flat or discordant color relationships (Source 2).
→Over-modeling details too early, which can detract from the overall mass and rhythm of the composition (Source 4).
→Failing to consider the shape of the canvas and how lines interact with the boundaries, potentially drawing attention to corners rather than the center (Source 8).

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 about Carlos Saenz de Tejada’s personal palette or preferred pigments are not available in the sources.
·The exact dimensions and aspect ratio of the original sketch are not provided.
·Information on whether the artist used a specific type of ground or primer is lacking.
·The sources do not describe the specific visual details of the curtain design (e.g., patterns, specific folds), so the recreation relies on general principles of drapery painting.

grounded in

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

The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Grisaille underpainting and glazing techniques.
- ON COPYING — applied to Advice on avoiding over-modeling and focusing on broad masses.
Laws of Contrast of Colour↗
- 315-318 — applied to Understanding simultaneous contrast and color harmony.
- 6 — applied to Chiaroscuro and gradation of light.
The Practice and Science of Drawing↗
- ILLUSTRATING SOME OF THE LINES ON WHICH THE RHYTHMIC POWER OF THIS PICTURE DEPENDS — applied to Compositional principles and line dynamics.