plate no. 9235
The End of the Working Day
Jules Breton, 1887
recreation guide
Jules Breton’s *The End of the Working Day* (1887) is a quintessential example of French Realist genre painting, depicting ordinary people engaged in common activities, specifically rural peasant life (Source 8). Breton, a naturalist painter heavily influenced by the French countryside, is known for transmitting an idyllic vision of rural existence, moving away from historical subjects to focus on the memories of nature and country life impressed upon him in his youth (Source 6, Source 7). The work likely employs traditional methods of painting, reflecting Breton’s absorption of techniques that helped establish his reputation as a primary transmitter of rural beauty (Source 6). As a genre scene, it portrays figures to whom no specific identity is attached, distinguishing it from portraiture or history painting, and aims to evoke a definite state of feeling through the aggregate force of color or line rather than sharp contrasts (Source 3, Source 8).
estimated time
40-60 hours over 8-12 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, Black, White, Yellow ochre/red earth tones) | For creating the grisaille underpainting and subsequent glazes | Standard tube oil paints |
| Oil of Copavia (or modern linseed/walnut oil) | Medium for the first and second paintings, as per Reynolds' method cited in historical context | Stand oil or refined linseed oil |
| Varnish | Mixed with oil for glazing and scumbling to gain mastery over transparent and semi-opaque layers | Dammar or synthetic resin varnish |
| Canvas | Support for the oil painting | Linen or cotton canvas |
| Brushes (various sizes) | For applying monochrome underpainting and delicate glazes | Hog bristle and sable brushes |
preparation
surface prep
Prepare a standard oil-primed canvas. While specific ground preparation for this exact 1887 work is not detailed in the sources, Breton’s adherence to traditional methods suggests a stable, absorbent ground suitable for layering. The sources note that primitive processes involved mixing earth with water or gum, but for oil painting, a standard oil ground is implied by the use of glazing techniques described in Source 1.
underdrawing
The sources do not explicitly describe Breton’s underdrawing technique for this specific work. However, given his realist approach and the emphasis on 'promptly and surely' imitating light modifications (Source 2), a careful preliminary sketch is likely. No specific evidence suggests he left preparatory methods visible or omitted them entirely.
underpainting
Create a monochrome underpainting (grisaille) using black, ultramarine, and white mixed with oil of copavia (or a similar medium). This step involves mentally extracting red and yellow colors to establish the tonal structure, translating what would be left in nature if these colors were absent (Source 1). This aligns with the traditional method cited by Sir Joshua Reynolds, which Breton’s traditionalist practice likely respects (Source 1).
color palette
Ultramarine
Pure ultramarine
Underpainting (grisaille) to establish cool shadows and structure
Black
Ivory black or lamp black
Underpainting (grisaille) for deep shadows and tonal contrast
White
Lead white or titanium white
Underpainting (grisaille) for highlights and mid-tones
Yellow/Red Tones
Yellow ochre, red earth, vermilion
Glazing and scumbling over the dry grisaille to introduce local color and warmth, mimicking the 'yellow and red tones as they occur' in nature (Source 1)
composition
The composition likely addresses the spectator by the aggregate force of color or line, aiming for a 'breadth of flush, or glow, or tender coldness' rather than sharp contrasts (Source 3). As a genre painting, it depicts ordinary people in common activities, likely arranged to evoke a sentimental or idyllic view of rural life, consistent with Breton’s focus on the 'beauty and idyllic vision of rural existence' (Source 6, Source 8). The arrangement avoids 'mingled' elements in favor of a definite state of feeling, possibly using massive or rugged forms if depicting labor, or graceful ones if depicting rest, consistent with the artist’s general compositional habits (Source 3).
step by step
underpainting→first pass→drying→refining→finishing
underpainting
step 01
Mix black, ultramarine, and white with oil of copavia (or linseed oil) to create a grisaille. Paint the entire composition in monochrome, focusing on tonal values and ignoring local color (red/yellow).
Tip — Mentally extract red and yellow colors to see the underlying structure of light and shadow.
Grisaille underpainting
first pass
step 03
Apply transparent glazes of yellow and red tones over the dry grisaille. Use oil as a medium initially. This mimics tinting an engraving with watercolors.
Tip — Glazing is a transparent coat of color that allows the underlying monochrome to show through, creating depth.
Glazing
drying
step 02
Allow the grisaille to dry completely. This is crucial before applying glazes to prevent muddying the underpainting.
Tip — Ensure the surface is hard to the touch before proceeding.
Drying
refining
step 04
Use scumbling (semi-opaque painting) to adjust tones, particularly over darker grounds to create coldness or grey blooms. Mix varnish and oil for greater mastery and control.
Tip — Scumbling allows the underlying painting to make itself felt, adding texture and subtle color shifts.
Scumbling
finishing
step 05
Refine the color harmonies by considering simultaneous contrast. Ensure that contiguous colors do not distort the perception of local color, adjusting tones to account for the eye’s susceptibility to fatigue and complementary afterimages.
Tip — Be aware that the eye may see the complementary of a previously viewed color, leading to inaccurate perception of the current area.
Simultaneous Contrast Adjustment
critical techniques
Glazing and Scumbling
Used to color a dry monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque layers. This method was practiced by old masters and is recommended for achieving depth and luminosity (Source 1).
Simultaneous Contrast Awareness
The painter must account for how adjacent colors affect each other’s appearance. The lightest tone is lowered and the darkest heightened when tones differ. This helps in accurately imitating light modifications on the model (Source 2).
Monochrome Underpainting
Establishing the composition in black, ultramarine, and white before adding color. This separates the problem of value from the problem of hue, allowing for more controlled color application (Source 1).
common pitfalls
- →Applying glazes before the underpainting is completely dry, which can lead to muddying and loss of clarity (Source 1).
- →Ignoring simultaneous contrast, leading to inaccurate color perception where the eye sees the complementary of a previously viewed color rather than the true local color (Source 2).
- →Over-mixing colors on the palette instead of allowing the underlying layers to interact optically, which diminishes the luminosity achieved through glazing (Source 1).
- →Using too much contrast in a composition that aims for 'breadth of flush' or 'tender coldness,' which should rely on subtle use of contrast rather than sharp juxtapositions (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 details of the figures' clothing, gestures, or facial expressions in *The End of the Working Day* are not described in the sources, so the recreation must rely on general genre painting conventions or the artist's known style rather than specific visual evidence.
- ·The exact dimensions and aspect ratio of the canvas are not provided.
- ·Breton’s specific brushwork style (e.g., impasto vs. smooth finish) is not detailed in the sources, though glazing implies a smoother surface.
- ·The specific lighting conditions (time of day, direction of light) are not described, though 'End of the Working Day' suggests late afternoon or evening light.
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, glazing, and scumbling techniques
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and simultaneous contrast adjustments
The Elements of Drawing↗
- 231 — applied to Compositional principles and use of contrast
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Jules Breton↗
- part 1 & 2 — applied to Artist’s style, subject matter, and traditional methods
Wikipedia: Genre painting↗
- part 1 — applied to Definition and characteristics of genre painting
Read more about the corpus on the sources page and how the guides are built on the methods page.
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