plate no. 0893

Still Life with Apples, a Pear and a Ceramic Portrait Jug

oil, panelPost-Impressionismstill lifeapplespearceramic jugstill lifefruittablecloth

what to study here

It shows how visible, form-following strokes and colored shadows can build volume while a busy, flat background stays behind the objects.

Start with the value structure. The jug is the darkest passage and the white tablecloth and bowl are the brightest, so the whole arrangement hangs between those two poles. Between them sit three mid-tone zones: the warm yellows and reds of the apples, the blues and lavenders in the tablecloth shadows, and the greens of the pear. Notice how the eye lands on the apples first, then moves right to the jug and the isolated pear. Look at the brushwork next. Strokes follow the form of each object. The apples show diagonal hatching that suggests volume, and the tablecloth carries horizontal strokes in the lights and diagonal blues in the shadows that echo the jug. Edges are harder around the jug and bowl and softer in shadow. The background wall holds framed pictures in blue, red and green, yet stays flat and distant, so it adds tension without pulling attention from the foreground. Study how much color the painter puts into the shadows, and how the flat wall sits behind modeled fruit.

key decision

The painter anchors the composition between the darkest jug and the brightest tablecloth and bowl, with colored mid-tones between them. The wall behind is kept flat and distant so the fruit stays the focus.

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.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

Light enters from the upper left, casting the ceramic jug into deep shadow while illuminating the white bowl and tablecloth as the luminous anchor. The eye lands first on the cluster of apples in the bowl—their warm yellows and reds jump forward—then travels rightward to the dark jug's silhouette and the isolated green pear. The background wall, fractured by framed paintings in competing colors (blues, reds, greens), creates visual tension without competing with the still life foreground because it remains flat and distant.

value structure

The jug is the darkest passage; the white tablecloth and bowl are the brightest lights. Between them sit three distinct mid-tone zones: the warm, modulated yellows and reds of the apples, the soft blues and lavenders of the tablecloth's shadows, and the luminous greens of the pear. Squint and you see a clear pyramid of value: light top-center (background wall), darkening at the edges, with the jug and deep shadows anchoring the lower right.

observed palette and mixes

#d4d0c4
White + touch of ochre
Tablecloth, bowl interior, light wall passages
#bdada2
White + raw umber + cadmium red
Warm shadows on tablecloth and fruit
#857467
Burnt sienna + ultramarine + white
Mid-tone shadows, warm grays in folds
#91422e
Cadmium red + burnt umber
The warm reds of the apples, jug highlights
#553f40
Burnt umber + ultramarine + alizarin
Deep shadows, jug mid-tones
#282a36
Ultramarine + burnt umber + touch of alizarin
The jug's darkest passages, shadow edges

edges and brushwork

Gauguin uses bold, directional strokes that follow the form of each object—the apples show diagonal hatching suggesting volume and light. Edges around the jug and bowl are harder and more defined; edges in shadow areas soften and blur slightly. The tablecloth is alive with visible brushwork: horizontal strokes in light areas, diagonal blues in shadow that echo the jug's form.

a working sequence

01
Monochrome underpainting
Block the entire composition in burnt umber and white to establish proportions and values. Place the bowl center-left, the jug right of center, the pear isolated to the lower right. Keep this loose—you're mapping the arrangement's skeleton.
02
Establish the tablecloth and lights
Paint the white tablecloth with broad, confident strokes. Leave warm shadows (ochre + ultramarine) in the folds where objects cast shadow. Add the blue-trimmed rim of the bowl. The tablecloth is your light anchor; don't darken it too early.
03
Block the apples
Paint the yellow-gold apple with cadmium yellow + ochre. Paint the two reds with cadmium red mixed warmer (add yellow) and cooler (add alizarin). Vary the hue across each apple—reds shift toward orange on sunlit edges, toward brown in shadow. Let brushstrokes be visible; don't blend smooth.
04
Paint the green pear
Block the pear in viridian + cadmium yellow, skewing toward yellow-green on the lit side. The shadow side (facing left toward the jug) leans cooler and darker—add ultramarine. Keep it simple; the pear is a supporting shape, not a focal point.
05
Paint the ceramic jug
This is your darkest, most sculptural element. Use ultramarine + burnt umber + a touch of alizarin for the body. The portrait face catches light—model the cheek and forehead with burnt sienna + white. The handle and shadow side remain nearly black. Let the dark shape define the composition's structure.
06
Paint the background wall
The left side is cooler (ultramarine + alizarin), the right warmer (ochre + alizarin into pinks). Paint the framed artworks as loose shapes—reds, greens, yellows—without detail. The wall should recede; keep it atmospheric and less focused than the foreground objects.
07
Refine shadows and adjust warmth
Deepen the blue shadows on the tablecloth where it folds beneath the bowl and near the jug. Add warm ochre-brown shadows under the apples and pear. Step back and adjust the jug's silhouette if it feels too isolated—a touch of reflected light on the shadow side helps anchor it.
08
Final accents and edges
Sharpen the bowl's blue rim where it catches light. Add green highlights to the pear. Touch warm red-orange accents to the apples' sunlit edges. Let rough, visible brushwork remain—it's the painting's voice, not a flaw.

where studies of this painting go wrong

Blending the apples too smoothly; Gauguin's apples are built from distinct color strokes, not gradual transitions. Keep brushstrokes visible.
Making the jug too flat or too dark—it's dark, but the portrait face must read; model it with just enough reflected light and warm shadow to suggest form.
Overworking the background wall into competing detail. The artworks on the wall should feel atmospheric and flat, not sharp enough to draw the eye away from the fruit.
Losing the cool blue shadows in the tablecloth by mixing them too purple or too gray. These shadows are crucial to atmospheric depth and the composition's structure.

measured difficulty