plate no. 5925
The Two Guides
Winslow Homer, 1877
recreation guide
Winslow Homer’s *The Two Guides* (1877) is a genre painting that reflects the artist’s post-Civil War transition toward scenes of childhood and domestic life, capturing a nostalgic view of simpler times (Source 4). As a work of Realism, it depicts ordinary figures engaged in common activities without attaching specific historical or portrait identities, aligning with the definition of genre art where subjects are perceived as types rather than individuals (Source 3). The painting likely employs the traditional oil painting methods Homer studied under Frederick Rondel and at the National Academy of Design, which emphasized sound craftsmanship and the mastery of medium capacities (Source 2, Source 4).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
4 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Black, Ultramarine, White, Red, Yellow) | Primary pigments for grisaille underpainting and subsequent glazing/scumbling layers. | — |
| Oil of Copavia (or modern damar/resin substitute) | Medium for the first and second paintings to ensure proper drying and transparency, as cited in Reynolds' method referenced by Homer's contemporaries. | Damar varnish or Galkyd |
| Linseed Oil | Standard binder for oil paint application. | — |
| Mineral Spirits/Turpentine | Solvent for thinning paint and cleaning brushes. | — |
| Canvas | Support surface. | — |
preparation
surface prep
Prepare a standard oil-primed canvas. While specific ground preparation for *The Two Guides* is not detailed in the sources, Homer’s training at the National Academy of Design and with Frederick Rondel would have instilled standard 19th-century academic practices for oil support preparation (Source 4).
underdrawing
Sketch the composition using charcoal or thinned paint. Traditional oil painting techniques often begin with this step to establish the design before applying paint (Source 8). Homer’s early work was based on sketches, indicating a reliance on preparatory drawing to capture the 'quiet moments' and figures accurately (Source 4).
underpainting
Create a monochrome underpainting (grisaille). Mentally extract red and yellow colors, painting only what would remain in nature if those colors were absent. This establishes the value structure. Use black, ultramarine, and white mixed with oil of copavia for the first and second paintings, as described in the method attributed to Sir Joshua Reynolds and noted as a practice of old masters (Source 1).
color palette
Black, Ultramarine, White
Pure pigments mixed with oil of copavia
Grisaille underpainting to establish values and forms.
Red and Yellow tones
Transparent red and yellow pigments
Glazing and scumbling layers to introduce color, mimicking the tinting of an engraving.
composition
The composition likely emphasizes broad masses and realistic depiction of ordinary figures, consistent with Homer’s genre painting style which avoids the 'smallness' or over-modeling associated with timid outlining (Source 2, Source 3). The figures are likely arranged to convey a narrative of everyday life without specific identity, focusing on the interaction between the subjects (Source 3).
step by step
underdrawing→underpainting→refining→finishing
underdrawing
step 01
Sketch the figures and setting onto the canvas using charcoal or thinned paint to establish the composition.
Tip — Ensure the proportions are accurate, as Homer’s realism relied on careful observation.
Traditional oil sketching
underpainting
step 02
Paint a grisaille using black, ultramarine, and white mixed with oil of copavia. Exclude red and yellow tones to establish the value structure.
Tip — Mentally extract red and yellow colors, translating what would be left in nature without them.
Monochrome underpainting
refining
step 03
Once the grisaille is quite dry, apply glazes and scumbles using oil (or varnish and oil mixed) to introduce red and yellow tones.
Tip — Apply colors much as you would tint an engraving with watercolors. Glazing is a transparent coat; scumbling is semi-opaque.
Glazing and Scumbling
finishing
step 04
Refine the details, ensuring that the underlying painting makes itself felt through the semi-opaque scumbles, particularly over darker grounds to achieve a grey bloom if desired.
Tip — Watch for coldness when scumbling over darker grounds; adjust transparency as needed.
Scumbling
critical techniques
Glazing and Scumbling
Used to apply red and yellow tones over a dry grisaille underpainting. Glazing provides transparent color, while scumbling provides semi-opaque layers that allow the underlying painting to show through, creating depth and texture.
Monochrome Underpainting
Establishing the painting’s values using only black, ultramarine, and white before introducing color. This method was practiced by old masters and is recommended for achieving mastery over the medium.
common pitfalls
- →Applying additional layers with less oil than the layer below, which can cause cracking and peeling. Follow the 'fat over lean' rule (Source 8).
- →Over-modeling or becoming too tied down to the outline, which can result in 'smallness' and lack of broad mass handling (Source 2).
- →Ignoring the drying time of the grisaille before glazing, which can muddy the colors and prevent proper transparency (Source 1).
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 Two Guides* (e.g., exact clothing patterns, facial expressions, background elements) are not described in the provided sources, so the guide relies on general genre painting principles and Homer’s documented techniques.
- ·The exact palette used by Homer for this specific 1877 work is not detailed; the guide assumes a standard palette based on the Reynolds method cited in Source 1.
- ·Homer’s specific brushwork style for this period is not explicitly described, though his transition from illustration to painting is noted (Source 4).
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 General craftsmanship and avoiding over-modeling
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 Definition and characteristics of genre art
Wikipedia bio — Winslow Homer↗
- Winslow Homer — part 3 — applied to Homer’s training and post-war subject matter
Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to General oil painting rules like 'fat over lean'
Read more about the corpus on the sources page and how the guides are built on the methods page.
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