plate no. 5029
The Print Collector
Honore Daumier, 1860
recreation guide
Honoré Daumier’s *The Print Collector* (1860) is a genre painting that exemplifies his transition from political caricature to serious Realist painting. While Daumier is widely known for his satirical lithographs targeting the bourgeoisie and judiciary (Source 7), his oil paintings from this period are characterized by a loose, expressive brushwork that blurs the line between caricature and fine art (Source 7). The work likely employs a dramatic chiaroscuro effect, consistent with the influence of Baroque masters like Rembrandt and Caravaggio, who used intense light and dark shadows to evoke emotion and drama (Source 4). Daumier’s approach to the human figure was grounded in direct observation, often capturing the 'typical states' of his subjects with a realism that shocked contemporaries accustomed to more idealized forms (Source 4).
estimated time
20-30 hours over 5-7 sessions
materials
4 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Red Ochre, Yellow Ochre) | Primary pigments for grisaille and glazing | Standard tube oils |
| Oil of Copavia (or modern linseed oil/walnut oil) | Medium for the first and second paintings, as cited in Reynolds' method which influenced old masters | Linseed oil or walnut oil |
| Varnish | Mixed with oil for later glazing stages to gain mastery over transparent coats | Dammar or synthetic resin varnish |
| Canvas | Support for oil painting | Linen or cotton canvas |
preparation
surface prep
The canvas should be prepared with a ground suitable for oil painting. While specific priming details for this exact work are not in the sources, the general practice of the period involved preparing a surface that could support the layering of glazes. The sources suggest a method where the underlying painting makes itself felt through semi-opaque layers, implying a stable, non-absorbent ground is necessary to prevent the glazes from sinking in too deeply (Source 1).
underdrawing
Daumier’s preparatory methods are not explicitly detailed in the provided sources. However, given his background in lithography and caricature, he likely employed a loose, expressive underdrawing. The sources note that for complex compositions, artists might sketch out the general form in thin oil or charcoal (Source 6). Daumier’s style suggests he may have bypassed rigid outlining in favor of direct modeling, consistent with the advice to avoid being 'too tied down to your outline' (Source 8).
underpainting
The recreation should likely begin with a monochrome underpainting (grisaille). The sources describe a method where the artist mentally extracts red and yellow colors, painting the underlying structure in black, ultramarine, and white (Source 1). This grisaille establishes the chiaroscuro and form before color is introduced. This technique aligns with the 'old masters' practice of glazing over a dry monochrome preparation (Source 1).
color palette
Black
Bone black or Ivory black
Establishing shadows and form in the grisaille underpainting
Ultramarine
Natural ultramarine
Cool shadows and atmospheric depth in the underpainting
White
Lead white or Zinc white
Highlights and mixing with ultramarine/black for the grisaille
Red/Yellow Tones
Red ochre, Yellow ochre, Vermilion
Glazing and scumbling over the dry grisaille to introduce warmth and flesh tones
composition
Daumier’s composition likely focuses on the dramatic interplay of light and shadow to highlight the subject’s character. While specific compositional details of *The Print Collector* are not described in the sources, Daumier’s general practice involved capturing 'typical states' and using dramatic lighting to evoke emotion, similar to Baroque techniques (Source 4). The composition may utilize the principle of simultaneous contrast, where juxtaposed tones heighten the gradation of light (Source 2).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the general form and pose on the canvas using thin oil or charcoal. Avoid rigid outlines; focus on the broad masses and gesture.
Tip — Do not get tied down to the outline; allow for departure and adjustment during painting.
Loose sketching
underpainting
step 02
Create a grisaille using black, ultramarine, and white mixed with oil of copavia (or linseed oil). Establish the full range of light and shadow, mentally excluding red and yellow tones.
Tip — Ensure the grisaille is completely dry before proceeding to glazing.
Grisaille
first pass
step 03
Apply transparent glazes of red and yellow tones over the dry grisaille. Use oil as the medium initially.
Tip — Treat the glazing like tinting an engraving with watercolors, allowing the underlying monochrome to show through.
Glazing
refining
step 04
Use scumbling (semi-opaque painting) to adjust tones and create coldness or grey blooms where needed, particularly over darker grounds.
Tip — Be aware that scumbling over darker grounds tends to create coldness; use this to enhance atmospheric effects.
Scumbling
finishing
step 05
Refine the contrast between light and dark areas to enhance the dramatic effect. Ensure that the juxtaposition of tones creates a true gradation of light.
Tip — Pay attention to simultaneous contrast; the highest tone will appear enfeebled next to the lowest tone, enhancing the gradation.
Chiaroscuro
critical techniques
Glazing and Scumbling
Used to build up color and tone over a dry monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque layers that interact with the underlying paint.
Chiaroscuro
Dramatic use of light and shadow to evoke emotion and highlight the subject’s character, consistent with Baroque influences and Daumier’s realist style.
Simultaneous Contrast
Juxtaposing different tones to enhance the perception of light and shadow, creating a more dynamic and realistic gradation.
common pitfalls
- →Applying glazes before the grisaille is completely dry, which can muddy the colors and ruin the transparency.
- →Being too tied down to the initial outline, preventing the loose, expressive brushwork characteristic of Daumier’s style.
- →Ignoring the effects of simultaneous contrast, leading to flat or less dynamic lighting.
- →Over-modeling details too early, which can detract from the broad masses and dramatic effect.
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 matter in *The Print Collector* (e.g., exact pose, clothing, background elements) are not described in the sources.
- ·Daumier’s exact palette for this specific painting is not documented in the provided texts.
- ·The specific dimensions and canvas preparation for this work are not provided.
- ·The extent to which Daumier used varnish in his final layers for this specific work is not detailed.
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 and glazing techniques
- ON COPYING — applied to Advice on avoiding rigid outlines
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Chiaroscuro and simultaneous contrast
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Baroque painting↗
- Baroque painting — part 1 — applied to Dramatic lighting and emotional evocation
Wikipedia bio — Honore Daumier↗
- Honore Daumier — part 1 — applied to Artist’s style and transition to realism
Read more about the corpus on the sources page and how the guides are built on the methods page.
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