plate no. 2042
The street
Martiros Sarian, 1929
recreation guide
Martiros Sarian’s 'The Street' (1929) is an Expressionist genre painting that captures a snapshot of everyday life, consistent with the tradition of depicting ordinary people engaged in common activities without specific individual identities (Source 2). The work likely employs the expressive capacity of oil paint to convey the 'reality effect' of the scene rather than strict realism, allowing for romanticized or imagined elements typical of the genre (Source 2, Source 4). Sarian’s approach to color would have been informed by an understanding of simultaneous contrast, where juxtaposed colors influence one another to create gradations of light and harmony, a principle essential for achieving the desired atmospheric effects in such a composition (Source 1, Source 5).
estimated time
20-30 hours over 5-7 sessions
materials
6 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (artist grade) | Primary medium for the painting | — |
| Linseed oil | To mix with paint for consistency and to adhere to the 'fat over lean' rule | — |
| Mineral spirits or turpentine | To thin paint for underpainting and clean brushes | — |
| Canvas | Support surface | — |
| Charcoal or thinned paint | For initial sketching of the subject | — |
| Palette knives and rags | For application, scraping, and adjusting texture | — |
preparation
surface prep
The canvas should be prepared with a ground suitable for oil painting. While specific details of Sarian’s ground preparation are not provided in the sources, traditional oil painting techniques often involve a stable base to ensure the paint film remains strong and does not crack or peel (Source 3). If aiming for a mural-like durability or matte finish as discussed in related decorative practices, one might consider fixing the canvas to resist dampness, though this is more relevant to large-scale decorative work (Source 6).
underdrawing
Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint (Source 3). Given the genre nature of the work, the underdrawing would likely establish the positions of the figures and the street layout, focusing on the general forms rather than intricate details, which would be developed in subsequent layers.
underpainting
An underpainting layer, likely using thinned paint, would be applied to establish the tonal values and basic color relationships. This step allows the artist to plan the composition and the interplay of light and shadow, adhering to the principle that each additional layer should contain more oil than the layer below to ensure proper drying (Source 3).
color palette
Earth tones and muted colors
Ochres, umbers, siennas
General use in this artist's palette for street scenes and everyday life depictions
Complementary contrasts
Pairs such as red/green or blue/orange
Creating simultaneous contrast and harmonizing colors inherent to the scene (Source 1, Source 5)
High and low tone tints
Variations of the same hue
Producing chiaroscuro and gradation of light through juxtaposition (Source 1)
composition
The composition likely features figures to whom no specific identity can be attached, consistent with the definition of genre painting (Source 2). The arrangement of elements would aim to create a 'reality effect' rather than a strictly realistic depiction, possibly including accidental effects or imagined accessories to enhance the scene (Source 1, Source 4). The artist would have chosen colors for the background and accessories to harmonize with the inherent colors of the objects, such as the street and figures, using the law of simultaneous contrast to achieve visual cohesion (Source 1, Source 5).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the basic forms of the street and figures using charcoal or thinned paint.
Tip — Focus on the general layout and proportions rather than details.
Traditional oil painting sketching
underpainting
step 02
Apply a thin layer of paint to establish tonal values and basic color relationships.
Tip — Use mineral spirits to thin the paint for this layer.
Underpainting
first pass
step 03
Begin applying thicker layers of paint, adhering to the 'fat over lean' rule.
Tip — Ensure each layer has more oil than the previous one to prevent cracking.
Fat over lean
refining
step 04
Adjust colors and tones based on the law of simultaneous contrast, ensuring that juxtaposed colors enhance each other.
Tip — Observe how adjacent colors affect each other and adjust accordingly.
Simultaneous contrast
finishing
step 05
Add final details and textures, using palette knives or rags if necessary.
Tip — Oil paint remains wet longer, allowing for changes in color, texture, or form.
Texture adjustment
varnishing
step 06
Apply a varnish to protect the painting and enhance the colors.
Tip — Wait until the painting is completely dry to the touch, which may take up to two weeks.
Varnishing
critical techniques
Fat over lean
Each additional layer of paint should contain more oil than the layer below to allow proper drying and prevent cracking.
Simultaneous contrast
Juxtaposing colors to create gradations of light and harmony, enhancing the visual impact of the composition.
Genre painting conventions
Depicting everyday life with ordinary people, focusing on the 'reality effect' rather than strict realism.
common pitfalls
- →Applying layers with less oil than the previous layer, leading to cracking and peeling (Source 3).
- →Ignoring the effects of simultaneous contrast, resulting in a lack of harmony and visual cohesion (Source 1, Source 5).
- →Over-detailing the figures, which may detract from the genre painting's focus on everyday life and the 'reality effect' (Source 2, Source 4).
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 Sarian’s personal palette and pigment choices for this particular painting.
- ·Exact compositional layout and specific figures depicted in 'The Street'.
- ·Sarian’s specific preparatory methods for this work, such as whether he used detailed sketches or worked more directly.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Understanding simultaneous contrast and chiaroscuro
- 315. As to the advantages the painter will find in it... — applied to Harmonizing colors and perceiving light modifications
The Practice of Oil Painting↗
- A FEW WORDS ON MURAL PAINTING — applied to Surface preparation and durability considerations
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Genre painting↗
- Genre painting — part 1 — applied to Context of genre painting and depiction of everyday life
Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to Traditional oil painting techniques and 'fat over lean' rule
Wikipedia: Dutch Golden Age painting↗
- Dutch Golden Age painting — part 11 — applied to Genre painting conventions and 'reality effect'
Read more about the corpus on the sources page and how the guides are built on the methods page.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
in this vein
related artworks
Dolly Sisters
Kees van Dongen
Nude with Loaves
Jean Helion
My Father
Carlos Botelho
Helen
Chronis Botsoglou
The portrait painter in the country
Albin Egger-Lienz
Marketta on Lázeňská street, Prague
Maria Bozoky
Winter at the Entrepotdok, in Amsterdam city
Paul Werner
Old Woman with Masks (Theatre of Masks)
James Ensor