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home·artworks·The national flag
The national flag by Gerolamo Induno

plate no. 2401

The national flag

Gerolamo Induno, 1863

oil, canvasRomanticismhistory paintingfiguresinteriorkitchentableclothingdoorway

what to study here

It shows how a single clear red can dominate a picture built almost entirely from warm browns, with soft edges and a dark surround.

The main thing to study here is how one saturated accent is set against a warm, narrow-range interior. The vision analysis describes a woman holding up a bright red flag while two companions lean over a wooden table in a modest kitchen. Light comes from the upper left and fills the back wall with cream-yellow and golden tones. The right side, doorways and corners fall into deep brown-black. Squint and the picture splits into a glowing center and a dark perimeter. The middle range of warm tan and golden-brown holds the wood and figures together. Even the shadows stay warm and brown rather than cool. The flag is the only saturated, high-value accent, so the eye goes there first. Edges are mostly soft and lost, and the brushwork is loose, with folds suggested in broad strokes. The crisp edge is saved for the flag. Study how much is left unresolved in the shadows and background so the lit group and the flag carry the scene.

key decision

Induno kept the whole interior in a warm, close-valued range with soft edges and made the flag the only saturated, crisp accent. Deep shadows on the right and in the doorways frame the lit group.

recreation guide

Gerolamo Induno’s 'The national flag' (1863) is a history painting rooted in the Romantic tradition, reflecting the artist’s unique dual identity as both a painter and a soldier. Induno is best known for his military scenes, drawing directly from his personal experiences fighting in the Five Days of Milan and the siege of Rome (Source 3). This work likely embodies the dramatic intensity and patriotic fervor characteristic of 19th-century Italian Romanticism, focusing on the emotional weight of national identity rather than strict topographical accuracy. As a history painter, Induno would have prioritized narrative clarity and emotional resonance, utilizing color to enhance the dramatic impact of the scene.

estimated time

20-30 hours over 5-7 sessions

materials

8 items

steps

6 in sequence

materials

itempurposemodern equivalent
Oil paints (linseed oil medium)Primary medium for the painting, allowing for blending and layering.Standard tube oil paints
CanvasSupport surface for the oil paint.Linen or cotton canvas, primed
Hog bristle brushesFor applying broad swaths of color and creating bold strokes, suitable for military uniforms and flags.Synthetic or natural hog bristle flats and filberts
Sable brushes (e.g., Kolinsky or Red Sable)For fine detail work, such as facial features or intricate uniform details.High-quality synthetic sable or natural sable rounds
CharcoalFor initial underdrawing and sketching the composition.Vine charcoal or compressed charcoal
Raw UmberFor underpainting and establishing tonal values.Raw Umber oil paint
TurpentineThinner for initial washes and cleaning brushes.Odorless mineral spirits or turpentine
PaletteFor mixing colors.Wooden or glass palette

preparation

surface prep

The canvas should be primed with a traditional oil ground, likely using gesso or a similar white primer to create a smooth, absorbent surface. While specific preparation methods for Induno are not detailed in the sources, 19th-century academic practice typically involved a white or light-toned ground to facilitate the layering of transparent glazes and opaque impasto (Source 6).

underdrawing

Begin with a charcoal underdrawing to establish the composition and proportions. Induno, having studied at the Brera Academy, would have adhered to academic standards of draftsmanship. Use charcoal to sketch the figures and the flag, ensuring correct proportions and dynamic poses. Charcoal is preferred as it offers little resistance to the brush and can be easily corrected with bread or a dry brush before paint is applied (Source 5).

underpainting

Apply a monochromatic underpainting using raw umber and white, thinned with turpentine. This 'imprimatura' or 'dead layer' establishes the tonal values of the composition without the distraction of color. This step is crucial for history painting to ensure the structural integrity of the figures and the dramatic lighting. The underpainting should be allowed to dry completely before proceeding to color layers (Source 5).

color palette

Green

Viridian, Sap Green, or mixed from Blue and Yellow

Likely used in military uniforms or foliage, part of the traditional RYB complementary pair with Red.

Red

Cadmium Red, Alizarin Crimson, or Vermilion

Likely used in the national flag or military accents, creating contrast with Green.

Blue

Ultramarine, Cobalt Blue

Sky or uniform details, part of the complementary pair with Orange/Yellow.

Orange/Yellow

Cadmium Yellow, Ochre, mixed with Red

Highlights, skin tones, or flag elements, creating contrast with Blue.

White

Titanium White or Lead White (historical)

Highlights and lightening colors, though care must be taken to avoid hue shifts.

Black/Neutral Grays

Ivory Black, mixed with complements

Shadows and neutralizing colors without shifting hue.

composition

While specific compositional details of 'The national flag' are not described in the sources, Induno’s work as a history painter suggests a focus on dramatic narrative and emotional intensity. The composition likely centers on the flag as a symbolic focal point, surrounded by figures in dynamic poses. The use of color contrast, particularly complementary colors, would be employed to enhance the visual impact and emotional resonance of the scene, consistent with Romantic ideals (Source 3, Source 8).

step by step

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

underdrawing

  1. step 01

    Sketch the composition in charcoal, focusing on the placement of the flag and the figures. Ensure proportions are correct and poses are dynamic.

    Tip — Keep the drawing slightly smaller than life to avoid scale distortion when viewing from a distance (Source 5).

    Charcoal underdrawing

underpainting

  1. step 02

    Apply a thin wash of raw umber and white to establish tonal values. Work from dark to light, blocking in the major shapes.

    Tip — Correct any errors in the charcoal stage before applying paint, as correcting in paint can be fatal to lucidity (Source 5).

    Monochromatic underpainting

first pass

  1. step 03

    Begin applying color in broad strokes, focusing on the main areas of the flag and uniforms. Use complementary colors to create contrast and vibrancy.

    Tip — Place orange next to blue, and red next to green, to make both colors appear brighter (Source 2, Source 4).

    Complementary color contrast

refining

  1. step 04

    Refine the details of the figures and the flag. Use finer brushes for intricate details such as facial features and uniform textures.

    Tip — Use sable brushes for fine details, as they have good 'snap' and return to their original point (Source 6).

    Detail work with sable brushes

finishing

  1. step 05

    Adjust the color harmony and contrast. Ensure that the complementary colors are balanced and that the overall mood is dramatic and engaging.

    Tip — Avoid adding black to darken colors, as it can cause hue shifts. Instead, use complementary colors to neutralize and darken (Source 7).

    Color harmony adjustment

varnishing

  1. step 06

    Allow the painting to dry completely before applying a varnish to protect the surface and enhance the colors.

    Tip — Ensure the painting is fully dry to prevent trapping solvents under the varnish.

    Varnishing

critical techniques

Complementary Color Contrast

Using pairs like red-green and blue-orange to create visual tension and vibrancy. This technique is central to Romantic and Impressionist color theory, enhancing the emotional impact of the scene.

Monochromatic Underpainting

Establishing tonal values with raw umber before applying color. This ensures structural integrity and allows for better control of light and shadow.

Charcoal Underdrawing

Using charcoal for initial sketches due to its ease of correction and compatibility with oil paint.

common pitfalls

  • →Adding black to darken colors, which can cause undesirable hue shifts towards green or blue (Source 7).
  • →Applying paint with obvious errors in construction or drawing, which is difficult to correct later (Source 5).
  • →Ignoring the drying times of different oils, which can lead to cracking or uneven drying (Source 6).
  • →Overusing white to lighten colors, which can cause a shift towards blue in reds and oranges (Source 7).

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 national flag' such as the exact arrangement of figures, the specific colors of the flag, and the background setting are not described in the sources.
  • ·Induno’s specific palette preferences and pigment choices for this particular painting are not documented in the provided sources.
  • ·The exact brushwork style and texture of the final painting are not detailed, requiring inference from general 19th-century practices.

grounded in

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

  • The Practice of Oil Painting↗

    • PAINTING FROM LIFE — applied to Underdrawing and underpainting techniques
  • Laws of Contrast of Colour↗

    • 492 — applied to Color combination in military uniforms

cross-referenced from

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

  • Wikipedia bio — Gerolamo Induno↗

    • Biography — applied to Artist background and genre context
  • Wikipedia: Complementary colors↗

    • Complementary colors — part 4 — applied to Color contrast and vibrancy
  • Wikipedia: Oil painting↗

    • Oil painting — part 6 — applied to Materials and brush types
  • Wikipedia: Color theory↗

    • Color theory — part 6 — applied to Color mixing and avoiding hue shifts

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

A woman sits holding aloft a bright red flag while two companions lean over a wooden table in a modest kitchen interior. Strong warm light floods from the upper left, illuminating the back wall and the figures in golden tones, while the right side and background recede into deep shadow. The eye travels first to the red flag—the only saturated, high-value accent in the composition—then down to the gathered figures and the table that anchors the scene. The spatial composition is intimate and enclosed, with dark doorways and architectural elements creating a theatrical frame around the warm, lit interior.

value structure

The darkest darks occupy the right side, doorways, and shadowed corners, reading as deep brown-black. The lightest lights are the cream-yellow upper wall and brightest clothing highlights. A dominant middle range of warm tan and golden-brown unifies the wooden surfaces and figures. When you squint, the composition divides clearly: a glowing central zone (wall and figures) against a dark perimeter that drops away dramatically, creating strong depth.

observed palette and mixes

  • #e4bf69

    Titanium white + yellow ochre + touch of raw sienna

    Upper left wall and brightest light zones; foundation for the warm atmospheric glow

  • #bc9761

    Yellow ochre + raw sienna + titanium white

    Mid-tone walls and light-struck wood surfaces; most of the visible background wall

  • #9d7c58

    Raw sienna + burnt umber + yellow ochre

    Wooden furniture, clothing midtones, and transitional values throughout the interior

  • #755d44

    Burnt umber + raw sienna + touch of Prussian blue

    Shadow sides of wood and clothing; darker figure passages and mid-shadow transitions

  • #544634

    Burnt umber + Prussian blue + touch of cadmium red

    Deepest shadows in doorways, background, and extreme darks on clothing

  • #31291e

    Prussian blue + burnt umber + cadmium red (near black)

    The darkest accents: deep interior shadows and the darkest clothing passages

  • #d9422f

    Cadmium red + small touch of yellow ochre

    The national flag—a bright, true red that reads luminously against the warm background

edges and brushwork

Edges throughout are predominantly soft and lost, especially where light meets shadow and in the background. The brushwork is loose and gestural—fabric folds and clothing are suggested through broad strokes rather than defined precisely. The looseness conveys light and atmosphere; shadows blend and soften while highlights remain slightly more defined. Watch how the artist reserves crisp edges for only the most important accent (the flag) while keeping the rest atmospheric and painterly.

a working sequence

  1. 01

    Establish the composition and value map

    Lightly sketch the three figures and table arrangement, then block in the major value zones: the glowing upper wall and lit areas in a mid-yellow, the figures in warm mid-tones, and the deep shadows (doorways, right side, lower corners) in dark brown. Your goal is a clear light-to-dark relationship, not detail. Think of it as three distinct value families: light, mid, and dark.

  2. 02

    Paint the illuminated wall and light source

    Work the upper left wall with a warm, glowing yellow-cream, letting it be the warmest, brightest area. This wall is your light source anchor—it should feel like it's radiating warmth across the entire interior. Keep the edges soft and atmospheric; avoid a flat finish. Let the color gently transition toward cooler tones as it moves toward the right and shadow side.

  3. 03

    Block in the architectural shadows

    Paint the deep shadows of the doorways, right wall, and background with confident, warm-dark strokes (burnt umber mixed toward shadow brown). These areas should feel like they recede and anchor the space. Don't overblend—let the brushstrokes show the structure of the interior. The darkness here is what makes the lit figures read as luminous.

  4. 04

    Establish the figures and table in midtone

    Block in all three figures using warm tan and raw sienna mixes for their clothing and flesh tones. The table should read as a lighter tan, separating the figures. You're not rendering faces or fine details yet—just establishing the warm, glowing mass of humanity and furniture against the background. Let shapes overlap naturally to create depth.

  5. 05

    Paint the red flag decisively

    Using cadmium red (or equivalent), paint the flag held high by the central figure. This is your eye-magnet—it should be bright, clear, and unshadowed. Don't hesitate; the boldness of the stroke matters. The red reads against the warm background precisely because it's a true, saturated red surrounded by golden-brown. Leave it slightly higher in value and purity than everything else.

  6. 06

    Model form with shadow and soft edges

    Using your dark brown mix, add shadows to the clothing and faces—the shaded side of the woman's face, the folds in fabric, the darker areas of the man's coat. Keep these shadows soft and warm (don't go cool or gray). The lighting is warm throughout, so even shadows lean toward brown and sienna, not blue. Use a dry-ish brush or soft blending to integrate shadows into the midtones.

  7. 07

    Add architectural details and strengthen spatial recession

    Define the doorways, fireplace edge, and hung objects on the wall with darker strokes. These don't need to be precise—suggestion is enough. Add a few touches of the brightest cream-yellow to the most lit portions of clothing and the wall to reinforce the light direction. Paint some dark objects in the lower left (vegetables, tools) with minimal detail, just shape and shadow.

  8. 08

    Refine transitions and final accents

    Soften the transitions between light and shadow on the wall, using semi-transparent warm glazes if needed. Add the finest highlights to the brightest clothing folds and the flag's upper edge. Step back frequently—the painting should read as a unified warm interior with a dramatic flag accent, not as separate rendered objects. The looseness and atmosphere matter more than precision here.

where studies of this painting go wrong

  • Painting the wall too flat or uniform yellow—the light has graduated warmth and movement; let it transition and breathe across the surface.
  • Overworking the red flag or making it muddy—this is your moment for confidence and purity; keep the red clear and unshadowed.
  • Losing the deep shadow structure on the right and background—these dark areas are not mistakes; they're essential for creating drama and depth. Commit to them.
  • Rendering the figures with tight, photo-realistic detail—the loose, gestural brushwork is part of the Romantic style and mood. Suggest form through value and shadow, not careful drawing.
  • Making the overall palette too cool or gray—the entire painting is warm and golden. Even the shadows lean warm (brown, not purple-blue).

measured difficulty

beginner friendliness
value contrast
palette complexity
compositional simplicity
brushwork visibility

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