plate no. 2401
The national flag
Gerolamo Induno, 1863
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
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (linseed oil medium) | Primary medium for the painting, allowing for blending and layering. | Standard tube oil paints |
| Canvas | Support surface for the oil paint. | Linen or cotton canvas, primed |
| Hog bristle brushes | For 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 |
| Charcoal | For initial underdrawing and sketching the composition. | Vine charcoal or compressed charcoal |
| Raw Umber | For underpainting and establishing tonal values. | Raw Umber oil paint |
| Turpentine | Thinner for initial washes and cleaning brushes. | Odorless mineral spirits or turpentine |
| Palette | For 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
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
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
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
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
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
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.
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