plate no. 5155
The Riot or Scene of Revolution, or Destruction of Sodome
recreation guide
Honoré Daumier’s *The Riot or Scene of Revolution, or Destruction of Sodome* is a work rooted in his identity as a serious painter loosely associated with Realism, yet distinctively blending the critical viewpoint of a caricaturist with the formal weight of fine art (Source 2). Daumier did not identify strictly as a realist in the ideological sense of Courbet, but rather treated realism as a 'second nature' derived from his life and observation, often exploring subjects with a 'searching truthfulness' and 'powerful directness' (Source 4). This painting likely reflects his habit of painting the same subject repetitively—sometimes up to 20 times—to exhaust the theme, suggesting a process of iterative refinement rather than a single spontaneous gesture (Source 4). The work stands as a testament to his transition from the grind of political lithography to a more mature, painterly practice developed during his summers in Barbizon and Valmondois, where he deepened ties with the Barbizon School (Source 3).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
4 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (traditional pigments) | Primary medium for the painting | High-quality tube oils; historically, Daumier would have used pigments ground with linseed or walnut oil |
| Linseed oil or Walnut oil | Agglutinative for grinding colors and medium for application | Refined linseed oil or walnut oil |
| Canvas or Panel | Support surface | Linen canvas primed with oil ground |
| Earth pigments (Ochres, Umbers) | Daumier’s palette likely relied on substantial, fixed earths for broken tones and covering power | Yellow Ochre, Raw Umber, Burnt Sienna |
| White Lead or Titanium White | Highlights and mixing; historically white lead was standard | Titanium White (for safety) or Flake White (for historical accuracy) |
preparation
surface prep
Daumier worked in oil, a medium requiring a sound craftsman’s knowledge of its capacities (Source 1). While specific priming recipes for this exact work are not detailed in the sources, the general practice of the period and Daumier’s association with the Barbizon school suggests a traditional oil ground on canvas. The artist must ensure the surface is prepared to accept the 'vital qualities' of the oil medium without losing the 'painted symbols' nature of the work (Source 7).
underdrawing
Daumier’s background in lithography and caricature suggests a strong initial design phase, but sources do not explicitly describe his underdrawing technique for oil paintings. However, as a 'sound craftsman' (Source 1), he likely established the composition firmly before applying paint. Given his habit of revisiting subjects repeatedly (Source 4), the underdrawing may have been loose or adjusted during the first pass to allow for the 'directness' of his vision (Source 4).
underpainting
No specific underpainting technique (such as grisaille or verdaccio) is cited for Daumier in the provided sources. However, the general advice for oil painting emphasizes the importance of the medium’s capacity (Source 1). It is likely he worked directly in oil or used a thin initial layer to establish values, consistent with the 'broad masses' approach suggested for artists who need to avoid being 'too much tied down to outline' (Source 1).
color palette
Earth Tones (Ochres, Umbers)
Natural and burnt ochres, brown earths
General use in this artist's palette; sources note the utility of earths for 'broken tones' and their 'perfect fixedness' and 'covering well' (Source 6)
White
White lead (historical) or chalk white
Highlights and mixing; historically one of the four primary colors used by ancient artists and retained in traditional palettes (Source 6)
Black
Ivory black or grapestone black
Shadows and contrast; listed as a standard coloring substance in traditional palettes (Source 6)
Reds
Red ochre, cinnabar, or red lac
Accents and flesh tones; red ochre is noted as a fundamental color (Source 6)
composition
Daumier’s compositions are characterized by a 'powerful directness' and a critical viewpoint on class distinctions (Source 4). While specific compositional elements of *The Riot* are not described in the sources, his general practice involved organizing visual elements to convey social commentary. The composition likely avoids 'meretricious' attempts to deceive the eye, instead focusing on the 'vital expression of nature' and the emotional idea prompting the work (Source 7). The arrangement of figures would serve to highlight the 'uncouthness' or raw reality of the scene, consistent with his Romantic temperament and Realist approach (Source 4).
step by step
underdrawing→first pass→refining→finishing
underdrawing
step 01
Sketch the composition lightly, focusing on the broad masses and dynamic movement of the figures. Avoid getting 'too much tied down to outline' (Source 1).
Tip — Ensure the design supports the 'searching truthfulness' of the vision (Source 4).
Loose underdrawing
first pass
step 02
Apply paint in broad masses, using earth tones and whites to establish values. Daumier’s style suggests a direct application rather than excessive modeling (Source 1).
Tip — Check for 'smallness' or over-detailing; Daumier’s work is noted for its directness, not fine finish in the academic sense (Source 1, Source 4).
Alla prima or direct painting
refining
step 03
Refine the forms and expressions, emphasizing the 'uncouthness' and social critique inherent in the subject. Daumier often painted subjects repetitively to exhaust the theme, so adjust until the emotional idea is fully expressed (Source 4).
Tip — Maintain the 'vitality possessed by the medium' (Source 7). Do not let the paint become a 'substitute for nature' but an expression of feeling (Source 7).
Iterative refinement
finishing
step 04
Final adjustments to contrast and color intensity. Ensure the work retains the 'painted symbols' quality, reminding the viewer it is a painting (Source 7).
Tip — Avoid 'over-modeling' which can lead to timidity (Source 1).
Glazing or scumbling (if needed for depth)
critical techniques
Broad Masses
Daumier’s work is characterized by a lack of 'smallness' and a focus on direct expression. The artist should deal with broad masses rather than getting lost in fine detail (Source 1).
Iterative Exploration
Daumier often painted the same subject up to 20 times to exhaust the theme. This suggests a process of repeated study and refinement rather than a single execution (Source 4).
Use of Earth Pigments
The use of earths, ochres, and marls provides 'broken tones' and 'covering well,' which are essential for the substantial quality of the painting (Source 6).
common pitfalls
- →Over-modeling or being 'too much tied down to outline,' which leads to timidity and a lack of vitality (Source 1).
- →Attempting to create a 'meretricious attempt to deceive the eye' rather than expressing the 'vital qualities' of the oil medium (Source 7).
- →Focusing on 'smallness' or excessive finish, which contradicts Daumier’s direct and powerful style (Source 1, Source 4).
- →Ignoring the 'social and political' commentary inherent in the subject, which is central to Daumier’s practice (Source 2).
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 Riot or Scene of Revolution, or Destruction of Sodome* (e.g., exact figure poses, background elements) are not described in the sources.
- ·Daumier’s specific underpainting or priming recipes for this work are not documented in the provided passages.
- ·The exact date of the painting is not available, making it difficult to pinpoint the precise stage of his stylistic evolution.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- ON COPYING — applied to Advice on avoiding over-modeling and dealing with broad masses (Source 1)
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Use of earth pigments and traditional palette (Source 6)
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Importance of medium vitality and avoiding mere deception (Source 7)
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Honore Daumier↗
- part 1 — applied to Context of Daumier’s social commentary and realist association (Source 2)
- part 4 — applied to Daumier’s iterative process and relationship with realism (Source 4)
Read more about the corpus on the sources page and how the guides are built on the methods page.
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