plate no. 1295
The Streetwalker (also known as Casque d Or)
recreation guide
Henri de Toulouse-Lautrec’s 'The Streetwalker' (1891) is a quintessential example of Post-Impressionist portraiture, characterized by its focus on the human subject as a vehicle for emotional and formal expression rather than mere documentary likeness. Consistent with the genre's evolution during this period, the work likely prioritizes the 'harmonic arrangement of form and color' over strict photographic realism, aiming to capture the sitter's essence through bold brushwork and compositional balance (Source 3, Source 5). The painting reflects the artist's engagement with the modern urban experience, utilizing a palette and technique that emphasize the interplay of light and shadow to define the figure against the background.
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints | Primary medium for color application and glazing | — |
| Cardboard support | Historical support material used by Lautrec for this specific work | Heavyweight illustration board or primed canvas board |
| Oil of copavia (or linseed oil) | Medium for thinning paints and creating glazes | Stand oil or refined linseed oil |
| Black, Ultramarine, White | Core pigments for the monochrome underpainting (grisaille) | — |
| Red and Yellow pigments | For glazing and scumbling to introduce color tones | — |
preparation
surface prep
The original artwork was executed on cardboard. For recreation, prepare a rigid support such as heavy illustration board or canvas board. Prime the surface with a traditional oil ground or acrylic gesso to ensure proper adhesion of the oil paints. Lautrec often worked on unconventional supports, so ensuring the surface is stable and non-absorbent is critical for the glazing techniques described in the sources.
underdrawing
While specific preparatory drawings for this piece are not detailed in the provided sources, Lautrec was a trained draftsman. It is advisable to begin with a confident, expressive underdrawing that captures the 'emotional significance' of the pose rather than seeking 'scientific accuracy' (Source 7). The drawing should establish the major masses and proportions, leaving room for the painterly application of color to define the final form.
underpainting
Employ a grisaille (monochrome underpainting) technique. Using only black, ultramarine, and white mixed with oil of copavia, establish the tonal values of the composition. This step involves 'mentally extracting the red and yellow colours' to focus on the structural light and shadow (Source 1). This monochrome layer serves as the foundation for subsequent color glazes, allowing the artist to resolve compositional issues before introducing hue.
color palette
Black
Pure black pigment
Underpainting shadows and defining dark masses in the grisaille stage
Ultramarine
Pure ultramarine blue
Underpainting mid-tones and cool shadows in the grisaille stage
White
Lead white or Titanium white
Underpainting highlights and mixing with black/blue for grisaille tones
Red tones
Various red pigments (e.g., Vermilion, Cadmium Red)
Glazing and scumbling to introduce warmth and flesh tones
Yellow tones
Various yellow pigments (e.g., Yellow Ochre, Cadmium Yellow)
Glazing and scumbling to introduce warmth and highlights
composition
The composition likely emphasizes the 'harmonic arrangement of form and color' rather than strict narrative detail, consistent with the Post-Impressionist approach to portraiture (Source 5). The figure is positioned to create a balance between the subject and the background, utilizing contrast to separate the form from the space. The artist likely considered the 'simultaneous contrast' of colors, ensuring that the tones of the clothing and skin interact to enhance the visual impact of the portrait (Source 2).
step by step
underdrawing→underpainting→refining→finishing
underdrawing
step 01
Sketch the figure lightly on the prepared cardboard support, focusing on the overall posture and major proportions.
Tip — Avoid over-defining lines; let the drawing serve as a guide for tonal masses.
Expressive drawing
underpainting
step 02
Mix black, ultramarine, and white with oil of copavia to create a grisaille. Paint the entire composition in monochrome, establishing light, mid-tones, and shadows.
Tip — Mentally exclude red and yellow hues to focus purely on value structure.
Grisaille
refining
step 03
Allow the grisaille to dry completely. This is crucial before applying transparent layers.
Tip — Rushing this step can lead to muddy colors and cracking.
Drying
finishing
step 04
Apply transparent glazes of red and yellow tones over the dry grisaille. Use oil as a medium initially. This technique mimics tinting an engraving with watercolors.
Tip — Observe how the underlying monochrome values influence the final color appearance.
Glazing
step 05
Use semi-opaque scumbling techniques to adjust tones and add texture, particularly in areas where the underlying painting should remain visible.
Tip — Be aware that scumbling over darker grounds can create a 'grey bloom' or coldness.
Scumbling
step 06
Evaluate the color interactions. Adjust hues to account for simultaneous contrast, ensuring that adjacent colors enhance rather than diminish each other's intensity.
Tip — Check for color fatigue; step back frequently to assess the overall harmony.
Simultaneous Contrast
critical techniques
Glazing
Applying transparent coats of color over a dry monochrome underpainting to achieve luminosity and depth. This method was practiced by old masters and is recommended for achieving rich tones without muddying the paint.
Scumbling
Using semi-opaque paint to modify tones while allowing the underlying layer to show through. This adds texture and complexity to the surface.
Simultaneous Contrast
Considering how adjacent colors affect each other's perception. The artist must anticipate that colors will appear shifted by their complements when placed side-by-side.
common pitfalls
- →Applying glazes before the underpainting is completely dry, which can result in mixing rather than optical layering.
- →Ignoring the effects of simultaneous contrast, leading to colors that appear dull or discordant.
- →Over-modeling details in the underdrawing, which can restrict the expressive freedom of the paint application.
- →Using too much medium in glazes, which can lead to long drying times and potential cracking.
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 pigment recipes used by Lautrec for this particular painting are not provided in the sources.
- ·The exact brushwork style (e.g., stroke direction, brush type) for this specific portrait is not detailed.
- ·The specific lighting conditions and background elements of the original scene are not described in the sources.
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
Laws of Contrast of Colour↗
- 315-318 — applied to Color theory and simultaneous contrast
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to Underdrawing philosophy
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Portrait painting↗
- Portrait painting — part 1 — applied to Genre context and intent
- Portrait painting — part 16 — applied to Compositional harmony and modernist approach
Read more about the corpus on the sources page and how the guides are built on the methods page.
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