plate no. 7532

The Children with the bath

oil, panelRealismgenre paintingfigureswaterchildrenbathingriverbankfamily

recreation guide

This recreation guide addresses the painting of a genre scene in the style of Honoré Daumier, specifically focusing on his mature period (post-1853) when he shifted focus from caricature to oil painting. Daumier is characterized as a pioneer of realistic subjects who treated class distinctions with a critical, often romanticized viewpoint, rather than strict ideological realism (Source 4). His approach was described as having the 'temperament of a Romantic and the approach of a Realist,' often exploring themes of working people and domestic life with a 'searching truthfulness' (Source 4). The technique likely involves direct painting (alla prima) or limited layering, consistent with his background in rapid lithographic production and his later desire for artistic maturity away from the grind of weekly cartoons (Source 3).

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Wood panel	Support surface, consistent with 19th-century panel painting traditions and Daumier's use of panels for smaller works.	MDF or plywood panel primed with gesso
Linseed oil	Binder for pigments; provides flexibility and rich color.	Refined linseed oil
Spirits of turpentine	Thinner for initial layers; dries 'dead' and leaves paint slightly absorbent for subsequent layers.	Odorless mineral spirits or pure gum turpentine
White palette	To allow correct judgment of color transparency and keep tones light, as advised for oil painting execution.	Glass or white plastic palette
Pigments: Two whites, yellow ochre, light red, vermilion, rose madder, cobalt, emerald, oxide of chromium, raw and burnt umber, ivory black	Standard palette for direct color painting from life, allowing for flesh tones and varied lighting.	Titanium/Zinc white, Cadmium/Quinacridone variants for reds, Phthalo for blues/greens
Brushes	Application of paint; Daumier’s style suggests expressive, possibly loose handling.	Hog bristle and synthetic brushes of various sizes

preparation

surface prep

The panel should be sized and prepared to be 'excellent' and 'impervious to oil' to ensure solidity. A white sizing is recommended so that tones have the same effect on the surface as on the palette (Source 6). Daumier’s works on panel likely utilized traditional gesso or chalk-based grounds common in the mid-19th century.

underdrawing

Daumier’s preparatory methods for oil paintings are not explicitly detailed in the sources, but he was known to use clay figurines as models for his paintings, nudging the clay to define folds and wrinkles (Source 5). For the underdrawing, one might sketch lightly in oil or watercolor. If using watercolor on a sized panel, a coat of painting varnish should be laid over it before oil painting begins (Source 6). Given Daumier’s rapid, expressive style, the underdrawing was likely loose and gestural rather than rigidly detailed.

underpainting

The sources suggest a 'direct colour' (alla prima) approach for flesh, substituting toned color for uncolored tone (Source 1). However, for the first painting, turpentine alone is preferable to avoid darkening the color and creating a 'soapy' surface (Source 1). This initial layer should be thin and absorbent to allow subsequent oil layers to adhere properly.

color palette

Flesh tones

Two whites, yellow ochre, light red, vermilion, rose madder

General use in this artist's palette for realistic flesh rendering

Shadows and depth

Raw and burnt umber, ivory black

Creating contrast and defining forms, consistent with realist techniques

Clothing and background

Cobalt, emerald, oxide of chromium, yellow ochre

Adding color variety and depth to non-flesh elements

Highlights

White (two types)

Defining light sources and texture

composition

Daumier characteristically explored subjects of working people, domestic scenes, and class distinctions (Source 4). His compositions often featured a 'searching truthfulness' and 'powerful directness' (Source 4). While specific compositional details of 'The Children with the bath' are not described in the sources, one should expect a focus on the human figure with a critical or empathetic viewpoint, avoiding idealized beauty in favor of realistic, perhaps 'uncouth' or raw, representation (Source 4).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the composition lightly on the prepared panel. Use oil or watercolor. If watercolor, apply a coat of painting varnish over it before proceeding.
Tip — Ensure the sizing is white and impervious to oil for accurate color judgment (Source 6).
Outline in oil or watercolor

underpainting

step 02
Apply a thin initial layer of paint using turpentine as the medium. This layer should be 'dead' and slightly absorbent.
Tip — Avoid using too much oil in the first layer to prevent a 'soapy' surface and darkening of colors (Source 1).
Direct painting (alla prima) initial layer

first pass

step 03
Begin painting flesh tones using the specified palette. Substitute toned color for uncolored tone, working directly from life or imagination.
Tip — Use the white palette to judge transparency and keep tones light (Source 6).
Painting flesh in direct color

refining

step 04
Build up subsequent layers with oil. Daumier’s style suggests expressive brushwork, possibly revisiting areas to refine forms and expressions.
Tip — Daumier often painted the same subject repetitively until satisfied, so be prepared to adjust and refine (Source 4).
Layering with oil

finishing

step 05
Complete the painting, ensuring the 'searching truthfulness' of the vision is maintained. Avoid over-polishing, as Daumier’s work was noted for its directness.
Tip — Remember that Daumier’s realism was a 'second nature' rather than a deliberate method, so trust your instinct for the subject’s character (Source 4).
Final adjustments

varnishing

step 06
Apply a varnish for protection and texture. Oil may be boiled with resin to create this varnish.
Tip — Ensure the painting is fully dry before varnishing.
Varnishing

critical techniques

Direct painting (alla prima)

Painting flesh in direct color, substituting toned color for uncolored tone. Using turpentine for the first layer to keep it absorbent.

Realistic representation

Treating subjects with a critical point of view on class distinctions, avoiding idealization. Using a 'searching truthfulness' in vision.

Palette management

Using a white, impervious palette to judge color transparency and maintain light tones.

common pitfalls

→Using too much oil in the initial layers, which can darken colors and create a 'soapy' surface (Source 1).
→Over-polishing the painting, losing the 'directness' and 'truthfulness' characteristic of Daumier’s style (Source 4).
→Ignoring the importance of a white, impervious palette, leading to inaccurate color judgments (Source 6).
→Attempting to rigidly plan the composition, whereas Daumier’s approach was more instinctive and repetitive until satisfied (Source 4).

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 Children with the bath' (e.g., exact poses, clothing patterns, room layout) are not described in the sources.
·Daumier’s exact underdrawing technique for this specific work is not documented.
·The specific year of creation is not available, making it difficult to pinpoint the exact phase of his career.
·Details about the specific clay figurines used as models for this painting are not provided.

grounded in

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

The Practice of Oil Painting↗
- CHAPTER XV PAINTING IN COLOUR DIRECT FROM LIFE — applied to Underpainting and first pass techniques, specifically the use of turpentine for initial layers and direct color application.
The Science of Painting↗
- CHAPTER IX. OUTLINE AND EXECUTION OF A PICTURE IN OILS — applied to Surface preparation, palette choice, and underdrawing techniques.

cross-referenced from

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

Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to General materials, varnishing, and the advantages of oil painting.
Wikipedia bio — Honore Daumier↗
- part 4 — applied to Daumier’s style, realism, and repetitive working method.
- part 5 — applied to Use of clay figurines as models.