plate no. 4693
The Storm
Jules Breton, 1853
recreation guide
Jules Breton’s *The Storm* (1853) is a landscape rooted in the French Realist tradition, reflecting his deep connection to the rural Pas-de-Calais region and his training in the academic methods of Ghent, Antwerp, and Paris (Source 4). While Breton is often associated with idyllic rural scenes, this work from his early career engages with the dramatic atmospheric effects characteristic of Romantic landscape painting, such as the depiction of storms and wilder natural forces (Source 7). The painting likely employs a disciplined approach to color and light, consistent with the academic training Breton received, which emphasized the structural integrity of the image through monochrome underpainting and the strategic use of glazes to achieve luminosity and depth (Source 1).
estimated time
20-30 hours over 5-7 sessions, allowing for drying times between glaze layers
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 underpainting and subsequent glazing | — |
| Oil of Copavia (or modern stand oil/linseed oil) | Medium for the first and second paintings to ensure transparency and flow | Stand oil or refined linseed oil |
| Varnish | Mixed with oil for later glazing stages to increase transparency and depth | Dammar varnish or synthetic resin varnish |
| Canvas | Support for the oil painting | Linen or cotton canvas, primed |
preparation
surface prep
The canvas should be prepared with a traditional ground suitable for oil painting. While specific priming details for *The Storm* are not explicitly detailed in the sources, Breton’s academic training implies a standard white or off-white gesso ground to support the layering of transparent glazes described in the period’s practice (Source 1).
underdrawing
Breton’s academic background suggests a careful preliminary drawing to establish composition, though specific details of his underdrawing for this piece are not recorded. The focus should be on accurate tonal values rather than fine line work, as the final image relies on color interaction and glazing (Source 3).
underpainting
The process likely begins with a grisaille (monochrome underpainting) using black, ultramarine, and white, mixed with oil of copavia. This step establishes the tonal structure of the storm, extracting red and yellow tones to focus on the underlying forms and light/shadow relationships (Source 1).
color palette
Ultramarine
Pure ultramarine
Underpainting and cool tones in the storm clouds and shadows
White
Lead white or zinc white
Highlights in the underpainting and mixing for glazes
Black
Ivory black or lamp black
Deep shadows and tonal contrast in the grisaille
Red/Yellow Tones
Red ochre, yellow ochre, or vermilion
Glazing over the dry grisaille to introduce warmth and atmospheric color
composition
The composition likely emphasizes the dramatic contrast between light and dark areas to convey the intensity of the storm. Breton’s training in copying Flemish masters and his exposure to Romantic landscape traditions suggest a focus on atmospheric perspective and the emotional impact of natural forces (Source 4, Source 7). The arrangement of elements would follow the principles of chiaroscuro, where juxtaposition of tones creates a gradation of light (Source 3).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the basic composition of the storm, focusing on the placement of clouds, light sources, and any landscape elements.
Tip — Ensure the tonal values are accurate, as this will guide the grisaille.
Preliminary drawing
underpainting
step 02
Apply a grisaille using black, ultramarine, and white mixed with oil of copavia. This layer should establish the full range of values from dark shadows to bright highlights.
Tip — Mentally extract red and yellow colors, focusing on what remains in nature without these hues (Source 1).
Grisaille
first pass
step 03
Allow the grisaille to dry completely. Then, begin glazing with transparent coats of red and yellow tones using oil as a medium.
Tip — Apply thin, transparent layers to build up color intensity without obscuring the underlying tonal structure (Source 1).
Glazing
refining
step 04
Use scumbling (semi-opaque painting) to adjust tones, particularly in areas where a grey bloom or coldness is desired over darker grounds.
Tip — Scumbling over darker areas can create a cold, atmospheric effect suitable for storm clouds (Source 1).
Scumbling
finishing
step 05
As mastery increases, mix varnish with oil for subsequent glazes to enhance transparency and depth. Adjust colors based on simultaneous contrast principles.
Tip — Place complementary colors near each other to enhance their intensity; for example, blue tones next to orange/yellow glazes (Source 2).
Varnish glazing
critical techniques
Glazing and Scumbling
Used to build color and atmosphere over a dry monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque texture and tone.
Simultaneous Contrast
Juxtaposing colors to enhance their visual impact. For instance, placing blue tones next to yellow/red glazes to make the latter appear more vibrant.
Chiaroscuro
Using the juxtaposition of light and dark tones to create a gradation of light and depth, essential for depicting the dramatic lighting of a storm.
common pitfalls
- →Applying glazes before the underpainting is completely dry, which can muddy the colors and disrupt the tonal structure (Source 1).
- →Overworking the paint, losing the transparency and luminosity achieved through careful layering (Source 1).
- →Ignoring the principles of simultaneous contrast, resulting in flat or dull color interactions (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 details of the landscape elements in *The Storm* (e.g., presence of figures, specific vegetation) are not described in the sources.
- ·Breton’s exact pigment choices for this specific painting are not documented; the palette is inferred from general academic practice and the sources provided.
- ·The exact dimensions and canvas preparation method for this specific work are not available.
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, glazing, and scumbling techniques
The Science of Painting↗
- 4. When two colours separated by more than two others — applied to Color theory and simultaneous contrast
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints of different tones of the same — applied to Chiaroscuro and tonal gradation
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Jules Breton↗
- part 1 — applied to Artist background and training
Wikipedia: Romanticism↗
- part 22 — applied to Context of storm landscapes in Romanticism
Read more about the corpus on the sources page and how the guides are built on the methods page.
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