plate no. 9778
The Barber Shop
Edward Hopper, 1931
recreation guide
Edward Hopper’s 'The Barber Shop' (1931) is a quintessential example of his Social Realist genre painting, characterized by a meticulous attention to geometrical design and the careful placement of figures within their environment (Source 2). Hopper’s approach was slow and methodical; he did not begin painting until the composition was fully worked out in his mind, often relying on preparatory sketches to balance human figures with their surroundings (Source 2). The work exemplifies his 'soft' realism, which simplifies shapes and details while using saturated color to heighten contrast and create a specific mood, often compared to the lighting effects of film noir (Source 2). As a genre painting, it depicts ordinary life without attaching specific identity to the figures, focusing instead on the atmospheric interplay of light and shadow (Source 4).
estimated time
40-60 hours over 8-12 sessions
materials
4 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, Black, White, Cadmium Yellow, Cadmium Red) | Primary pigments for underpainting and glazing | — |
| Oil of Copavia (or modern stand oil/linseed oil blend) | Medium for the first and second paintings, as per historical technique | Stand oil or Galkyd |
| Varnish | Mixed with oil for later glazing stages to gain mastery over transparent coats | Dammar varnish or synthetic resin varnish |
| Canvas | Support for oil painting | Linen or cotton canvas, primed |
preparation
surface prep
The canvas should be prepared to accept a monochrome underpainting. While Hopper’s specific ground preparation for this piece is not detailed in the sources, the referenced technique suggests a dry grisaille (monochrome) base is essential before applying color (Source 1). The surface must be completely dry before proceeding to glazing.
underdrawing
Hopper was a methodical artist who made preparatory sketches to work out carefully calculated compositions (Source 2). He stated, 'I don't start painting until I have it all worked out in my mind' (Source 2). Therefore, the underdrawing should be precise, reflecting a pre-visualized geometric balance rather than improvisation. The drawing should focus on the 'geometrical design' and 'careful placement of human figures' (Source 2).
underpainting
The underpainting should be executed as a grisaille (monochrome) using black, ultramarine, and white, mixed with oil of copavia (Source 1). This stage involves 'mentally extracting the red and yellow colours' to establish the value structure without chromatic interference (Source 1). This aligns with the historical method described by Sir Joshua Reynolds, which Hopper’s contemporaries and predecessors utilized (Source 1).
color palette
Ultramarine
Pure pigment
Underpainting (grisaille) and establishing cool shadows
Black
Pure pigment
Underpainting (grisaille) and deep shadows
White
Pure pigment
Underpainting (grisaille) and highlights
Yellow tones
Cadmium Yellow or similar
Glazing and scumbling to reintroduce warmth and light, particularly in areas of 'electric light' or sunlight
Red tones
Cadmium Red or similar
Glazing and scumbling to add warmth and saturation, contrasting with the cool underpainting
composition
The composition should reflect Hopper’s characteristic 'geometrical design' and 'careful placement of human figures in proper balance with their environment' (Source 2). The arrangement of elements should be 'carefully calculated' (Source 2). While specific details of 'The Barber Shop' layout are not in the sources, Hopper’s general practice involves simplifying shapes and details to create a 'soft' realism (Source 2). The composition should emphasize the interplay of light and shadow, using bright sunlight or artificial light as an 'emblem of insight or revelation' and casting symbolically powerful shadows (Source 2).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Transfer the pre-visualized composition to the canvas. Focus on geometric balance and the placement of figures relative to the architecture.
Tip — Ensure the composition is fully resolved before applying paint, as Hopper did not start painting until the idea was fully worked out (Source 2).
Pre-visualization
underpainting
step 02
Apply a grisaille using black, ultramarine, and white mixed with oil of copavia. Establish all values and forms without using red or yellow.
Tip — Mentally extract red and yellow colors, translating what would be left in nature if these colors were not present (Source 1).
Grisaille
first pass
step 03
Allow the grisaille to dry completely. Begin glazing and scumbling with oil, introducing yellow and red tones.
Tip — Apply transparent coats of color, much like tinting an engraving with watercolors (Source 1).
Glazing
refining
step 04
Use scumbling (semi-opaque painting) over darker grounds to create coldness or grey blooms, and glazing to enhance warmth.
Tip — Scumbling over a darker ground tends to coldness, which can be used to create atmospheric effects (Source 1).
Scumbling
finishing
step 05
Refine the light and shadow effects to create mood. Use saturated color to heighten contrast.
Tip — Hopper used saturated color to heighten contrast and create mood, simplifying shapes and details (Source 2).
Saturated Color
varnishing
step 06
Once mastery is gained, mix varnish with oil for final glazing layers to deepen the color and unify the surface.
Tip — This technique was practiced by old masters and helps achieve a luminous finish (Source 1).
Varnish Glazing
critical techniques
Glazing and Scumbling
Hopper’s style benefits from the old master technique of glazing (transparent coats) and scumbling (semi-opaque layers) to build color depth and mood. This involves applying yellow and red tones over a dry monochrome underpainting (Source 1).
Pre-visualization
Hopper’s methodical approach requires the composition to be fully resolved in the mind and in sketches before painting begins. This ensures the 'geometrical design' and balance of figures are precise (Source 2).
Light and Shadow
Use light and shadow to create mood, with bright light acting as an emblem of insight and shadows casting symbolic power. This is central to Hopper’s method (Source 2).
common pitfalls
- →Applying color too early: The grisaille must be completely dry before glazing to avoid muddying the values (Source 1).
- →Over-modeling: Hopper’s 'soft' realism simplifies shapes; avoid excessive detail that detracts from the geometric balance (Source 2).
- →Ignoring the monochrome base: Failing to mentally extract red and yellow during the underpainting stage can lead to a lack of structural clarity (Source 1).
- →Smallness: Copying or recreating works should check any tendency to 'smallness' or being tied down to outlines (Source 3).
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 visual details of 'The Barber Shop' (e.g., exact layout, objects on walls, clothing patterns) are not described in the provided sources.
- ·Hopper’s specific pigment choices for this 1931 work are not detailed; the palette is inferred from general historical techniques and his known use of saturated color.
- ·The exact ratio of oil to varnish in Hopper’s final glazes is not specified, though the source suggests a progression from oil to varnish-oil mix (Source 1).
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 Underpainting (grisaille), glazing, and scumbling techniques
- ON COPYING — applied to Advice on avoiding 'smallness' and over-modeling
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Edward Hopper↗
- part 9 — applied to Working methods, pre-visualization, light and shadow, and soft realism
Wikipedia: Genre painting↗
- Genre painting — part 1 — applied to Contextualizing the work as a genre painting depicting everyday life
Read more about the corpus on the sources page and how the guides are built on the methods page.
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