plate no. 5025

The Ostrich Feather Hat

Henri Matisse, 1918

oilPost-Impressionismportraitportraitfigurehatchairdressinterior

recreation guide

Henri Matisse’s 'The Ostrich Feather Hat' (1918) emerges from a period of stylistic transition following his relocation to Cimiez in 1917. This era is characterized by a 'return to order' and a relaxation of the aggressive Fauvist techniques of his earlier career, showing a softening of approach while retaining his signature interest in color harmony (Source 5). The work belongs to the portrait genre, where Matisse, consistent with modernist trends stimulated by photography, sought to create effects that cameras could not capture, focusing on the harmonic arrangement of form and color rather than strict photographic realism (Source 4). The painting likely employs the principles of simultaneous contrast, where colors are chosen not just for their inherent nature but for how they interact with adjacent tones to produce visual vibration and depth (Source 2, Source 8).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (primary colors: Ultramarine, Vermilion/Cadmium Red, Yellow Ochre/Cadmium Yellow, plus White and Black)	To create the vibrant palette and execute glazing/scumbling techniques.	—
Linseed oil or Oil of Copavia	Medium for glazing and initial painting layers, as referenced in historical oil painting practices.	Stand oil or walnut oil for slower drying
Canvas or prepared panel	Support for the oil painting.	—
Soft charcoal or graphite	For underdrawing, establishing the 'visual path' and shapes.	—

preparation

surface prep

Prepare a neutral ground. While Matisse’s specific ground for this 1918 work is not explicitly detailed in the sources, the general practice of oil painting involves preparing a surface that allows for the layering of transparent and semi-opaque coats. A mid-tone ground may facilitate the 'glazing and scumbling' techniques described in traditional oil painting methods (Source 1).

underdrawing

Establish the composition using line and shape. Matisse’s work from this period shows a 'bolder simplification' and a focus on flat shapes and controlled lines (Source 5, Source 6). The drawing should not aim for 'scientific accuracy' but rather 'artistic accuracy' that conveys the emotional significance and form of the subject (Source 7). Focus on the 'visual path' that enables the eye to move within the piece (Source 3).

underpainting

Consider a monochrome underpainting (grisaille). Traditional oil painting practice suggests creating a grisaille by mentally extracting red and yellow colors, leaving the underlying structure in neutral tones. This layer must be quite dry before proceeding (Source 1). This step helps establish value and form before introducing the vibrant color contrasts characteristic of Matisse.

color palette

Ultramarine/Blue

Ultramarine, White, Black

General use in Matisse’s palette; often used for backgrounds or shadows to create contrast with warm tones.

Vermilion/Red

Vermilion or Cadmium Red

General use in Matisse’s palette; used for vibrant accents and to create simultaneous contrast with green/blue areas.

Yellow Ochre/Cadmium Yellow

Yellow Ochre or Cadmium Yellow

General use in Matisse’s palette; used for highlights and warm tones.

White

Titanium or Zinc White

Mixing tints and creating highlights.

Black

Ivory Black

Defining lines and deep shadows.

composition

The composition should emphasize the 'harmonic arrangement of form and color' (Source 4). Matisse’s portraits from this period often feature a 'relaxation and softening of his approach' (Source 5). The arrangement of elements should consider the 'law of simultaneous contrast,' where the placement of colors affects their perceived tone and intensity (Source 2, Source 8). The subject is likely centered or balanced within the frame, with attention to the 'positive' and 'negative' space (Source 3).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the basic shapes and lines of the portrait. Focus on the 'visual path' and the 'formal structure' of the composition.
Tip — Ensure the drawing conveys the 'emotional significance' rather than just scientific accuracy (Source 7).
Line and Shape

underpainting

step 02
Apply a monochrome grisaille layer. Mentally extract red and yellow colors to establish value and form. Use oil of copavia or linseed oil as a medium.
Tip — Allow this layer to dry completely before proceeding (Source 1).
Grisaille

first pass

step 03
Begin glazing and scumbling with oil. Apply transparent coats of color (glazing) and semi-opaque layers (scumbling) to introduce the red and yellow tones.
Tip — Glazing is a transparent coat; scumbling is semi-opaque and allows the underlying painting to show through (Source 1).
Glazing and Scumbling

refining

step 04
Adjust colors based on the law of simultaneous contrast. Ensure that adjacent colors enhance each other’s intensity and that the 'harmonic arrangement' is achieved.
Tip — Be aware that the eye may perceive colors differently due to mixed contrast; adjust accordingly (Source 8).
Simultaneous Contrast

finishing

step 05
Finalize the painting with bold simplifications and controlled lines, consistent with Matisse’s 1918 style.
Tip — Avoid overworking; maintain the 'flat shapes' and 'controlled lines' characteristic of this period (Source 5, Source 6).
Simplification

critical techniques

Glazing and Scumbling

Used to build up color layers transparently and semi-opaquely, allowing the underlying grisaille to influence the final hue. This method was practiced by old masters and is relevant to oil painting techniques (Source 1).

Simultaneous Contrast

Colors are chosen and placed to interact with adjacent tones, enhancing visual vibration and harmony. This is crucial for Matisse’s vibrant style (Source 2, Source 8).

Simplification of Form

Matisse’s 1918 work shows a 'bolder simplification' and 'flat shapes,' moving away from detailed realism toward expressive form (Source 5, Source 6).

common pitfalls

→Overworking the paint, losing the 'flat shapes' and 'controlled lines' characteristic of Matisse’s style (Source 6).
→Ignoring the law of simultaneous contrast, leading to muddy or dull color interactions (Source 2, Source 8).
→Applying glazes before the underpainting is dry, causing mixing and muddiness (Source 1).
→Focusing on 'scientific accuracy' rather than 'artistic accuracy' and emotional significance (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 details of the subject’s clothing, jewelry, or facial expression are not described in the sources and must be inferred from general knowledge of Matisse’s portraits or the actual artwork, which is outside the scope of the provided sources.
·The exact pigment mixtures used by Matisse for this specific painting are not detailed in the sources.
·The specific dimensions and aspect ratio of the canvas are not provided.

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 (grisaille) and glazing/scumbling techniques.
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color harmony and simultaneous contrast.
- 315. As to the advantages... — applied to Simultaneous contrast and color perception.
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to Concept of artistic vs. scientific accuracy in drawing.

cross-referenced from

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

Wikipedia: Composition (visual arts)↗
- part 1 — applied to Composition elements (line, shape, space).
Wikipedia: Portrait painting↗
- part 16 — applied to Context of Matisse’s portrait style and modernist influences.
Wikipedia bio — Henri Matisse↗
- part 6 — applied to Stylistic shift in 1918 (return to order, simplification).
- part 3 — applied to Background on Fauvism and flat shapes.