plate no. 0893
Still Life with Apples, a Pear and a Ceramic Portrait Jug
Paul Gauguin, 1889
recreation guide
This artwork, created in 1889, falls within the period when Paul Gauguin was developing Cloisonnism and moving toward Synthetism. Characterized by flat areas of pure color separated by bold outlines, this style rejects classical perspective and subtle gradations of light in favor of expressing the 'essence' of objects (Source 3). The painting likely employs a calculated arrangement of lines and colors to create visual 'symphonies and harmonies' rather than direct realistic representation, aiming to stimulate the imagination through the affinity between color arrangements and the mind (Source 7). The composition relies on the principles of simultaneous contrast, where juxtaposed colors influence each other’s perceived tone and hue, creating a unified yet vibrant effect without relying on traditional modeling (Source 1, Source 2).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
4 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints | Primary medium for the painting | — |
| Wood panel | Support surface, consistent with Gauguin's preference for panels during this period | Hardboard or MDF panel primed with gesso |
| Black pigment (e.g., Ivory Black or Lamp Black) | Creating bold outlines characteristic of Cloisonnism | — |
| Primary pigments (Red, Yellow, Blue) | Mixing flat tints and complementary colors | Cadmium Red/Yellow, Ultramarine Blue |
| Linseed oil or similar medium | Binding agent and gloss control | Stand oil or walnut oil |
preparation
surface prep
Prepare a rigid wood panel. Gauguin frequently used panels rather than canvas during his Pont-Aven period to support the heavy, flat application of paint and bold outlines. The surface should be primed with a white or light-toned gesso to allow the pure colors to retain their chroma, as Gauguin sought to eliminate subtle gradations and rely on the inherent strength of the color juxtapositions (Source 3).
underdrawing
Execute a precise, bold underdrawing. In the Cloisonnist style, forms are defined by heavy black outlines that separate areas of pure color, reminiscent of medieval cloisonné enameling (Source 3). The drawing should emphasize major forms and upright lines to clearly define shape and contour, avoiding the subtle modeling typical of Impressionism (Source 7).
underpainting
Likely omitted or minimal. Gauguin’s move toward Synthetism and Cloisonnism involved dispensing with the two most characteristic principles of post-Renaissance painting: classical perspective and subtle gradations of color (Source 3). Instead of a tonal underpainting (grisaille), the artist likely applied flat tints directly, relying on the 'law of simultaneous contrast' to create depth and harmony through juxtaposition rather than layering (Source 1, Source 2).
color palette
Flat Tints of Pure Color
Unmixed or minimally mixed primary and secondary pigments
General use in this artist's palette to create areas of pure color separated by outlines
Black
Pure black pigment
Bold outlines separating color fields (Cloisonnism)
Complementary Pairs
Red/Green, Blue/Orange, Yellow/Purple
Creating harmony and contrast through juxtaposition, leveraging simultaneous contrast
composition
The composition likely arranges inanimate objects (apples, pear, jug) to experiment with color harmony rather than realistic spatial depth. Gauguin characteristically eliminated subtle gradations of color and paid little attention to classical perspective, focusing instead on the 'definite arrangement of lines and colours' to create visual symphonies (Source 3, Source 7). The placement of objects is calculated to maximize the effect of simultaneous contrast, where the eye perceives modifications in tone and color due to contiguous hues (Source 2).
step by step
underdrawing→first pass→refining→finishing
underdrawing
step 01
Sketch the outlines of the apples, pear, and ceramic jug with bold, confident lines. Emphasize major forms and contours, avoiding subtle shading.
Tip — Ensure lines are distinct and separate the color fields clearly, mimicking the cloisonné enameling technique.
Cloisonnism
first pass
step 02
Apply flat areas of pure color within the outlined shapes. Do not blend or model the forms with light and shadow.
Tip — Focus on the inherent color of the object rather than its lighting conditions, as Gauguin sought to express the essence of the objects.
Flat Color Application
refining
step 03
Adjust the juxtaposition of colors to leverage simultaneous contrast. Place complementary colors next to each other to enhance visual tension and harmony.
Tip — Observe how the lightest tone is lowered and the darkest tone is heightened when colors of different tones are juxtaposed.
Simultaneous Contrast
finishing
step 04
Reinforce the black outlines if necessary to ensure the separation of color fields remains sharp. Check for any unintended gradations and flatten them.
Tip — Avoid subtle gradations of color, which Gauguin boldly eliminated in this style.
Cloisonnism
critical techniques
Cloisonnism
Use of flat areas of pure color separated by heavy black outlines, reducing the image to its essential forms and dispensing with classical perspective and subtle gradations.
Simultaneous Contrast
Juxtaposing colors to create harmony and visual effects where the eye perceives modifications in tone and color due to the influence of neighboring hues.
Synthetism
Balancing form and color equally, using calculated arrangements of lines and colors to create visual symphonies that stimulate the imagination.
common pitfalls
- →Attempting to model forms with light and shadow, which contradicts the Cloisonnist rejection of subtle gradations (Source 3).
- →Blending colors at the edges, which undermines the bold outlines and flat color fields essential to the style (Source 3).
- →Ignoring the effects of simultaneous contrast, leading to a lack of visual harmony and tension between juxtaposed colors (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 color choices for the apples, pear, and jug are not detailed in the sources, so the artist must rely on general knowledge of Gauguin's palette or the specific artwork's visual record.
- ·The exact composition and arrangement of objects are not described in the sources, requiring reference to the actual painting or high-quality reproductions.
- ·Details about the specific pigments used by Gauguin in 1889 are not provided, though general period practices are inferred.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Understanding simultaneous contrast and the effect of juxtaposing flat tints
- 315-318. Advantages of the law... — applied to Applying simultaneous contrast to harmonize colors and perceive modifications in tone
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Paul Gauguin↗
- part 6 — applied to Cloisonnism style, flat colors, bold outlines, rejection of perspective and gradations
- part 25 — applied to Synthetism, calculated arrangement of lines and colors, visual symphonies
Read more about the corpus on the sources page and how the guides are built on the methods page.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
related guides
