plate no. 2235

Tavern in St. Cloud

pastel, paperExpressionismgenre paintingfiguresinteriortablewindowbottletavern

what to study here

A clear lesson in reducing a scene to three value masses and using one warm wall against cool blue figures in pastel.

Look at how the painting is built on three value layers: a near-black foreground of purples and blacks (table, shadows), mid-dark blue figures, and a glowing orange-yellow wall that is the lightest mass. Squint and the picture reduces to those three notes. The two seated men are silhouetted against the wall, and their blue clothing is the first place the eye lands before it moves to the bright right half. Study the warm-cool contrast between the golden wall and the small patch of blue sky and dark mullions in the window at left. Note the white bottle on the left table: it is the sharpest light accent in the dark foreground and balances the weight of the wall. Edges matter too. Where blue clothing meets the wall the edges are soft and broken, with no crisp outlines. The wall is built from loose horizontal and diagonal strokes and blended in places, while the shadows and table keep visible pastel texture. Watch how the dark mass and the figures stay close in value so the men emerge from shadow instead of floating.

key decision

Munch set the figures as a mid-dark blue mass between an almost black foreground and a bright orange-yellow wall. He kept their edges soft and broken so they sit inside the value structure.

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.

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

Two figures sit at a table in a warmly lit interior, their forms silhouetted against a glowing orange-yellow wall. Light enters from the left through a window with visible blue sky and dark mullions, creating a sharp warm-cool contrast. A white bottle stands on the left foreground table, catching light. The composition draws the eye first to the central seated figure's blue jacket, then to the bright wall mass that dominates the right half of the composition.

value structure

The painting is organized in three distinct value layers: an extremely dark foreground (table and shadows) in deep purples and blacks; mid-tone figures in blue seated against a bright background; and a light-filled orange wall that reads as the brightest area overall. Squint and you'll see the foreground as nearly black, the figures as a medium-dark mass, and the wall as a luminous band—this three-note structure is the skeleton.

observed palette and mixes

#242630
Ultramarine + burnt umber + white, heavily weighted to create deep purple-black
Deepest shadows on left foreground table, window frames, and darkest clothing accents
#3c3038
Raw umber + ultramarine + ivory black
Very dark chocolate browns in deep shadow areas and figure silhouettes
#56393c
Burnt sienna + ultramarine
Reddish-brown tones in shadow transitions and figure contours
#8a6359
Raw sienna + titanium white with touch of ultramarine
Mid-tone warm browns on table surface and furniture
#bf8960
Burnt sienna + cadmium yellow + titanium white
Warm peachy-brown tones bridging shadows to light, used in highlights and mid-tone transitions
#d4a26f
Cadmium yellow + cadmium orange + titanium white
The dominant wall color—warm golden-tan with slight yellow dominance; also the pale highlights
#E8B87C
Cadmium yellow + titanium white + touch of cadmium orange
The brightest wall area, particularly upper right and around the window
#4A6BA8
Ultramarine + cerulean blue + touch of alizarin
The men's blue clothing; also visible in the window sky
#6B7E8F
Ultramarine + titanium white + touch of alizarin
Lighter blue tones in the clothing and window panes

edges and brushwork

Strokes are directional and loose, particularly in the wall where horizontal and diagonal marks build the glow. The figure's edges are soft and broken, especially where blue clothing meets the warm background—no crisp outlines. Pastel is blended in the wall and lighter areas but left visible as texture in shadows and the foreground table, creating visual liveliness throughout.

a working sequence

01
Establish the warm wall foundation
Lay down the dominant golden-orange wall color (#d4a26f to #E8B87C) across the right and center background, using broad, directional strokes. Work loosely—this mass should read as glowing and warm. Leave the far left (window area) and foreground table unworked. This establishes the composition's emotional core.
02
Block in the spatial structure
Roughly indicate the window frame (dark lines against blue sky), the table edge dividing foreground from middle ground, and the general silhouettes of the two seated figures. Keep these suggestions light; you're mapping where things live, not defining details yet.
03
Layer the very dark foreground
Fill the foreground table area with the deepest blacks and purples (#242630, #3c3038), working roughly around the bottle shape. Let this dark mass almost merge with the figures initially—don't separate them yet. The contrast between this dark area and the bright wall is essential to the painting's impact.
04
Establish the figures' clothing
Apply the blue (#4A6BA8, #6B7E8F) to both figures' shirts and hats, working with the pastel's edge to suggest form. Notice the left figure leans slightly forward; his blue is somewhat darker. Keep faces and hands minimal—just warm tan suggestions. The blue should feel integrated with the surrounding dark values, not isolated.
05
Develop mid-tone transitions
Begin layering the warmer mid-tones (#8a6359, #bf8960) into the table surface and along the edges where dark foreground meets the warm wall. These bridge the extreme contrast. Soften some of the wall's edges with these warmer neutrals to create atmosphere and prevent flatness.
06
Refine the window and light source
Define the window's dark frame more crisply, and suggest the blue sky visible through the panes. The white bottle on the left should catch light—leave it pale and warm-tinted (toward #E8B87C with white). This focal point draws the eye and anchors the light direction.
07
Add texture and visual liveliness
Layer additional strokes over the wall using warmer yellows and peach tones, following the light direction. Let pastel paper show through in places. Add shadow definition to the figures' faces and hands with warmer accent colors. Use your kneaded eraser to lift highlights where needed, particularly on the bottle and wall edges.
08
Final harmony pass
Step back and assess value relationships. The eye should move from the bright wall to the figures to the foreground dark. Warm the shadowed areas where needed, cool the wall slightly near the window to show light quality. Add any final details—the table edge, bottle rim, hat brims—with crisp but not harsh marks. Fix to protect the final surface.

where studies of this painting go wrong

The warm wall can flatten into a uniform, lifeless color. Vary it subtly with warmer and cooler yellows as you layer; let the paper's texture show through.
Separating the dark foreground from the figures too much defeats the mood. Keep the figures' edges soft and allow them to emerge from shadow rather than floating against it.
Overworking the window. It's a cool accent, not a focal point—keep it subdued and sketchy so the viewer's eye stays on the figures and the warm interior glow.
Neglecting the pale bottle on the left. Its sharp light value is crucial to establishing light direction and preventing the composition from feeling too heavy on the right.

measured difficulty