plate no. 2235

Tavern in St. Cloud

pastel, paperExpressionismgenre paintingfiguresinteriortablewindowbottletavern

recreation guide

Edvard Munch’s *Tavern in St. Cloud* (1890) is a seminal work of early Expressionism, executed in pastel on paper. Created during Munch’s formative years in Paris, the work reflects his exposure to Post-Impressionist techniques, particularly the use of color to convey emotion rather than mere visual realism, a principle influenced by Paul Gauguin’s rejection of naturalistic imitation (Source 6). As a genre painting, it depicts ordinary figures in a common setting, aligning with the tradition of portraying everyday life without specific historical or narrative identity (Source 8). The medium of pastel allows for a direct, powdery application of color that retains the vitality of the material, avoiding the illusionistic deception of oil paint in favor of expressive symbols (Source 4).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Soft pastels (crayons)	Primary medium for applying opaque, powdery color directly to the surface.	High-quality soft pastels (e.g., Sennelier, Holbein) that contain minimal binder.
Toothed paper or cardboard	Support with a rough natural surface to mechanically hold the dry pigment.	Heavyweight pastel paper or sanded paper.
Fixative (optional/cautious use)	To stabilize layers if necessary, though traditional practice often avoids it to maintain texture.	Workable fixative spray.
Blending stumps or fingers	To smudge and blend powdery pigments for atmospheric effects.	Paper blending stumps or clean cotton gloves.

preparation

surface prep

The support must have a rough natural surface or be prepared with a layer of pumice stone to mechanically hold the powdery crayon, as pastel contains little to no medium to bind it chemically (Source 1). Munch typically worked on paper or cardboard; ensure the surface is clean and dry. Unlike oil painting, no gesso or oil ground is applied, as the vitality of the medium relies on the direct interaction between the dry pigment and the textured paper (Source 4).

underdrawing

Munch’s preparatory methods for pastels are not explicitly detailed in the provided sources, but his general practice involved sketchy, expressive lines. Given the influence of his Paris period and the 'sketchy tavern scenes' noted in his biography (Source 6), a loose, gestural underdrawing in charcoal or a dark pastel stick is appropriate. Do not over-refine the outline; the goal is to establish mass and movement rather than precise contour (Source 5).

underpainting

Not applicable in the traditional oil sense. However, the first layer of pastel acts as an underpainting. Apply broad masses of color to establish the tonal structure. Since pastel is opaque (Source 1), subsequent layers will cover previous ones, but the initial layer sets the value structure. Avoid trying to create transparency; instead, build solidity through layering of opaque powders (Source 1).

color palette

Deep Blues and Purples

Ultramarine, Cobalt Violet, Indigo

Shadows and atmospheric depth, consistent with Munch’s use of color to convey mood rather than local color.

Vibrant Yellows and Oranges

Cadmium Yellow, Cadmium Orange

Light sources and focal points, creating strong contrast with complementary blues/purples.

Greens and Reds

Viridian, Alizarin Crimson

Complementary accents to enhance visual vibration and emotional intensity.

composition

As a genre painting, the composition likely focuses on ordinary figures engaged in common activities, without specific identifiable identities (Source 8). Munch’s approach in this period was influenced by the 'sketchy' quality of his tavern scenes (Source 6). The composition should prioritize emotional expression and symbolic imagery over realistic spatial accuracy, reflecting Gauguin’s influence that art is 'human work and not an imitation of Nature' (Source 6). Avoid rigid perspective; instead, use color contrasts to define space.

step by step

underdrawing→first pass→refining→finishing

underdrawing

step 01
Lightly sketch the main figures and architectural elements using a dark pastel or charcoal. Keep lines loose and gestural, avoiding hard outlines.
Tip — Do not overwork the drawing; the final image relies on color masses, not line precision.
Gestural sketching

first pass

step 02
Apply broad masses of color using the side of the pastel stick. Establish the darkest shadows and brightest lights first. Use the rough tooth of the paper to hold the pigment.
Tip — Remember that pastel is opaque; you can layer lighter colors over darker ones if needed, but plan your values carefully.
Massing color

refining

step 03
Blend adjacent colors using fingers or blending stumps to create soft transitions, particularly in atmospheric areas like smoke or background figures. This mimics the 'atmospheric effects' associated with loose forms.
Tip — Avoid over-blending, which can flatten the image. Preserve some of the powdery texture for vitality.
Blending/Smudging
step 04
Intensify key areas by layering pure, saturated colors. Use complementary colors next to each other to create strong contrast and visual vibration, as per color theory principles.
Tip — Place reds next to greens, or blues next to oranges, to enhance the emotional impact without mixing them into mud.
Complementary contrast

finishing

step 05
Add final highlights and sharp details with the tip of the pastel stick. Ensure the emotional idea is clear; the work should be perceived as 'painted symbols' rather than a deceptive illusion of reality.
Tip — Step back frequently to assess the overall emotional impact rather than local accuracy.
Symbolic detail

critical techniques

Opacity and Layering

Pastel is described as 'not transparent' and remaining in a state of powder (Source 1). Unlike watercolor, you build form through opaque layers. This allows for correction and adjustment but requires a robust paper tooth.

Simultaneous Contrast

Use complementary colors to enhance each other’s intensity. When two highly chromatic complementary colors are placed next to each other, they create a strong contrast (Source 3). This is crucial for Munch’s expressive style.

Expressive Symbolism

The artist should not aim for 'actual illusion of natural appearances' but rather 'painted symbols' true to the emotional idea (Source 4). This aligns with Munch’s rejection of realism under Gauguin’s influence (Source 6).

common pitfalls

→Attempting to create transparency with pastel, which is inherently opaque (Source 1).
→Over-blending, which destroys the vital texture of the medium and makes the work look muddy rather than expressive (Source 4).
→Focusing on realistic detail rather than emotional expression, which contradicts Munch’s artistic goals during this period (Source 6).
→Using a smooth paper surface, which will not hold the powdery pigment effectively (Source 1).

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 brands or exact color mixes used by Munch for this specific painting are not provided in the sources.
·The exact layout of the tavern interior (e.g., position of tables, specific gestures of figures) is not described in the sources, so the artist must rely on general genre conventions and Munch’s other works.
·Details on Munch’s specific use of fixatives or varnishes for pastels are not included.

grounded in

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

The Science of Painting↗
- CHAPTER XII. CRAYONS, DISTEMPERING, EGG-PAINTING, WATER — applied to Understanding the opaque nature of pastel and the need for a rough surface.
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of using medium for expression rather than illusion.

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia: Watercolor painting↗
- Techniques — applied to General techniques for blending and atmospheric effects, adapted for pastel.
Wikipedia: Complementary colors↗
- Complementary colors — applied to Using color contrast for emotional impact.
Wikipedia bio — Edvard Munch↗
- Paris — applied to Context of Munch’s style, influence of Gauguin, and sketchy tavern scenes.
Wikipedia: Genre painting↗
- Genre painting — applied to Understanding the subject matter as everyday life without specific identity.