plate no. 1287
The large tree
Paul Gauguin, 1891
recreation guide
Paul Gauguin’s *The Large Tree* (1891) is a quintessential example of his Post-Impressionist and Synthetist style, developed during his first sojourn in Tahiti. Unlike the Impressionists who sought to capture fleeting light, Gauguin aimed for a more symbolic and structured representation of nature, often characterized by bold, flat areas of color and simplified forms (Source 2). The work reflects his desire to escape Western civilization and explore the spiritual relationship between people and nature, a theme prevalent in his Tahitian period (Source 2). While the specific visual details of the tree’s foliage or background are not described in the provided sources, the painting is grounded in Gauguin’s experimental use of color and his departure from traditional academic modeling in favor of a more decorative, symbolic approach.
estimated time
20-30 hours over 5-7 sessions
materials
8 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (pigments) | Primary medium for the painting | — |
| Linseed oil or poppy seed oil | Binder for the pigments; provides flexibility and rich color | Cold-pressed linseed oil |
| Turpentine | Thinner for initial layers and cleaning brushes | Odorless mineral spirits or pure gum turpentine |
| Canvas | Support for the oil painting | Primed linen or cotton canvas |
| Dark pear-wood palette | Mixing colors; dark wood helps recognize the true nature of colors better than light maple | Dark wood palette or glass palette |
| Flatted round brushes (Leighton brushes) | Drawing detailed passages and applying paint with resilience | Filbert or round hog-hair brushes |
| Trowel-shaped palette knife | Mixing colors and applying paint to large surfaces | Standard palette knife |
| Painting table | Stable surface for mixing large quantities of color and painting | Adjustable easel with mixing tray |
preparation
surface prep
The canvas should be sized and primed to create a smooth, hard surface. While Gauguin’s specific ground preparation for this work is not detailed in the sources, traditional oil painting practice involves sizing the canvas with animal glue or casein paste and applying layers of gesso or white primer to ensure the paint adheres properly and the colors appear true (Source 5, Source 8). A white ground is advised to allow for correct judgment of color transparency and to keep tones light (Source 5).
underdrawing
Gauguin’s preparatory methods are not explicitly described in the provided sources. However, traditional practice suggests that the outline may be done in oil or watercolor. If using watercolor, a coat of painting varnish should be applied over it to seal it before oil painting begins (Source 5). Given Gauguin’s bold, simplified forms, the underdrawing likely emphasized strong contours rather than detailed shading.
underpainting
The sources suggest a method of glazing and scumbling over a monochrome underpainting (grisaille). This involves creating a base layer in neutral tones, then applying transparent glazes of color to achieve depth and luminosity (Source 3). This technique allows the underlying structure to influence the final color, creating a complex visual effect.
color palette
Vivid greens and blues
Ultramarine, emerald green, viridian
General use in Gauguin’s Tahitian palette to depict lush vegetation and sky, consistent with his experimental use of color (Source 2)
Warm earth tones
Ochre, sienna, umber
Depicting the tree trunk and earth, providing contrast to the vibrant foliage
Complementary accents
Reds and oranges
Enhancing the intensity of greens and blues through juxtaposition, as per color theory principles (Source 4)
composition
Gauguin’s compositions often feature bold, flat areas of color and simplified forms, moving away from traditional perspective and modeling (Source 2). While the specific layout of *The Large Tree* is not described, his work typically emphasizes the symbolic relationship between figures and nature, with strong outlines and decorative patterns. The composition likely avoids realistic depth in favor of a more two-dimensional, symbolic arrangement.
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the basic forms of the tree and background on the primed canvas using charcoal or thinned oil paint. Focus on strong, simplified contours.
Tip — Ensure the drawing is secure but not overly detailed, allowing for flexibility in the painting process.
Outline
underpainting
step 02
Apply a monochrome underpainting (grisaille) using neutral tones to establish the basic values and forms of the composition.
Tip — Allow this layer to dry completely before proceeding to glazing.
Grisaille
first pass
step 03
Begin applying color using glazing techniques. Apply thin, transparent layers of oil paint over the dry underpainting to build up color intensity.
Tip — Use a dark palette to accurately judge the true nature of the colors as you mix them (Source 1).
Glazing
refining
step 04
Refine the forms and colors by scumbling semi-opaque paint over the glazes. This technique allows the underlying layers to show through, creating depth and complexity.
Tip — Be mindful of the complementary color relationships to enhance the vibrancy of the hues (Source 4).
Scumbling
finishing
step 05
Add final details and adjustments using larger brushes for broad areas and smaller brushes for finer details. Ensure the composition maintains its symbolic and decorative quality.
Tip — Avoid overworking the paint; maintain the flat, bold areas characteristic of Gauguin’s style.
Detailing
varnishing
step 06
Once the painting is completely dry, apply a protective varnish to enhance the colors and protect the surface.
Tip — Use a varnish mixed with oil for the first layers, then pure varnish for the final coat (Source 3).
Varnishing
critical techniques
Glazing
Applying transparent layers of color over a dry underpainting to build depth and luminosity. This was a common practice among old masters and is recommended for achieving rich, complex colors (Source 3).
Scumbling
Applying semi-opaque paint over a darker ground to create a grey bloom or coldness, allowing the underlying layers to influence the final appearance (Source 3).
Complementary Color Juxtaposition
Placing complementary colors next to each other to enhance their intensity. For example, placing red next to green to make both appear more vibrant (Source 4).
common pitfalls
- →Using a light-colored palette, which can distort the perception of color mixing (Source 1).
- →Overusing small brushes, which can lead to a lack of resilience and excessive absorption of paint (Source 1).
- →Ignoring the drying time between layers, which can cause the paint to mix muddy or crack (Source 3, Source 8).
- →Failing to consider complementary color relationships, resulting in dull or less vibrant hues (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 Large Tree* (e.g., exact foliage pattern, background elements) are not described in the sources.
- ·Gauguin’s specific pigment choices for this painting are not detailed.
- ·The exact dimensions and aspect ratio of the canvas are not provided.
- ·Gauguin’s personal notes on the composition or symbolism of this specific work are not included.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- MATERIALS — applied to Selection of palette, brushes, and painting table
- COLOURING A MONOCHROME — applied to Techniques of glazing and scumbling
The Science of Painting↗
- 4. When two colours separated by more than two others — applied to Color theory and complementary color usage
- CHAPTER IX. OUTLINE AND EXECUTION OF A PICTURE IN OILS — applied to Surface preparation and underdrawing methods
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Paul Gauguin↗
- part 1 — applied to Context of Gauguin’s style, period, and thematic focus
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to General properties of oil paint and materials
Wikipedia: Panel painting↗
- Panel painting — part 4 — applied to Traditional surface preparation techniques
Read more about the corpus on the sources page and how the guides are built on the methods page.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
related guides
