plate no. 2102
Three Amateurs in front of the Night Review of Raffet
recreation guide
This artwork, 'Three Amateurs in front of the Night Review of Raffet' by Honoré Daumier, is a genre painting that depicts ordinary people engaged in common activities, specifically likely involving theater or art connoisseurs, consistent with Daumier’s frequent exploration of 'print and art collectors and connoisseurs' and 'theater and carnival subjects' (Source 3). Daumier is characterized as a pioneer of realistic subjects who treated them with a critical point of view regarding class distinctions, though he did not strictly identify with the Realist ideology in the same manner as Courbet (Source 3). His approach is described as having the 'temperament of a Romantic and the approach of a Realist,' focusing on the human figure rather than landscapes (Source 3). The work likely exhibits a 'reality effect' rather than strict photographic realism, a trait common in genre painting where scenes of everyday life are depicted with figures to whom no specific identity is attached (Source 2, Source 6).
estimated time
40-60 hours over 8-12 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Black, Ultramarine, White) | For the initial grisaille underpainting as described by Reynolds' method cited in the sources | Standard oil paints; Ivory Black, Ultramarine Blue, Titanium White |
| Oil of Copavia (or modern linseed/walnut oil) | Medium for the first and second paintings in the grisaille stage | Stand oil or refined linseed oil |
| Transparent oil colors (Reds, Yellows) | For glazing over the dry grisaille to introduce color | Alizarin Crimson, Cadmium Yellow, mixed with oil medium |
| Varnish | To be mixed with oil for later glazing stages to gain mastery over transparency | Dammar varnish or synthetic resin varnish |
| Canvas or Panel | Support for the oil painting | Linen canvas primed with gesso |
preparation
surface prep
The surface should be prepared to accept oil paint. While specific priming methods for this exact work are not detailed in the sources, the technique described involves a 'grisaille' (monochrome underpainting) which must be 'quite dry' before proceeding (Source 1). This implies a stable, non-absorbent ground that allows for the layering of transparent glazes without lifting the underlayer.
underdrawing
Daumier’s specific underdrawing methods for this piece are not explicitly described in the provided sources. However, as a realist painter who sought 'searching truthfulness' and often painted subjects repetitively to exhaust the theme (Source 3), he likely employed a loose, expressive underdrawing to capture the gesture and composition before refining details. The sources suggest that copying works by masters like Reynolds or Van Dyck can help artists who are 'too much tied down to their outline' (Source 8), implying Daumier may have avoided rigid, over-modeled outlines in favor of broader masses.
underpainting
The underpainting should be a grisaille (monochrome painting) using black, ultramarine, and white, mixed with oil of copavia (or a similar oil medium) (Source 1). This stage involves 'mentally extracting the red and yellow colours' to establish the value structure of the painting (Source 1). This method is attributed to Sir Joshua Reynolds and noted as a practice of 'old masters' that Daumier, as a realist influenced by tradition, may have utilized or adapted (Source 1).
color palette
Black
Ivory Black or Lamp Black
Grisaille underpainting and shadows
Ultramarine
Ultramarine Blue
Grisaille underpainting, providing cool tones for shadows and mid-tones
White
Lead White or Titanium White
Grisaille underpainting, highlights, and scumbling
Red/Yellow Tones
Transparent reds and yellows (e.g., Vermilion, Yellow Ochre)
Glazing over the dry grisaille to introduce local color and warmth, as these were 'extracted' in the underpainting stage (Source 1)
composition
The composition likely features figures engaged in a common activity, such as viewing art or theater, consistent with genre painting conventions where figures have no specific identity (Source 2). Daumier’s compositions often focus on the human figure and social interactions, with a critical eye on class distinctions (Source 3). The arrangement may utilize contrast of tone and color to harmonize the composition, as the painter must distinguish between colors inherent to the model and those chosen for effect (Source 7). The visual path is likely guided by the interaction between the 'amateurs' and the 'Night Review' subject, creating a narrative snapshot of everyday life (Source 6).
step by step
underpainting→first pass→refining→finishing→varnishing
underpainting
step 01
Create a grisaille underpainting using black, ultramarine, and white mixed with oil of copavia. Focus on establishing the value structure, mentally excluding red and yellow tones.
Tip — Ensure the underpainting is 'quite dry' before proceeding to glazing (Source 1).
Grisaille
first pass
step 02
Apply transparent glazes of red and yellow tones over the dry grisaille. Use oil as a medium initially.
Tip — Treat the glazing like tinting an engraving with watercolors, allowing the underlying monochrome to show through (Source 1).
Glazing
refining
step 03
Use scumbling (semi-opaque painting) to adjust tones, particularly over darker grounds to create coldness or grey blooms if needed.
Tip — Be aware that scumbling over darker grounds tends to coldness (Source 1).
Scumbling
finishing
step 04
Refine the color harmony by considering simultaneous contrast. Adjust colors based on how they interact with adjacent tones, ensuring the 'inherent' colors of the figures and 'chosen' colors of the background harmonize.
Tip — Watch for the eye's tendency to see complementary colors after prolonged viewing of a specific hue, which can distort color perception (Source 4).
Simultaneous Contrast
varnishing
step 05
Once satisfied with the mastery of the glazes, consider mixing varnish with oil for final transparent layers to deepen the color.
Tip — This step is for advanced mastery; ensure previous layers are fully dry (Source 1).
Varnish Glazing
critical techniques
Glazing
A transparent coat of color applied over a dry underpainting to modify hue and value without obscuring the underlying structure. Daumier’s realism may benefit from this layering to achieve depth and luminosity.
Scumbling
Semi-opaque painting applied over the underpainting. Useful for creating 'grey blooms' or cooling down tones, particularly over darker areas.
Simultaneous Contrast
Understanding that adjacent colors affect each other’s appearance. The painter must account for this to accurately depict the 'modifications of the light on the model' and harmonize the composition.
common pitfalls
- →Failing to let the grisaille underpainting dry completely before glazing, which can lead to muddying of colors (Source 1).
- →Ignoring the effects of simultaneous contrast, leading to inaccurate color perception and disharmonious compositions (Source 4).
- →Over-modeling or becoming too tied down to outlines, which contradicts the loose, expressive nature of Daumier’s realist approach (Source 8).
- →Applying scumbling over dark grounds without anticipating the resulting coldness or grey bloom (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 details of the figures' clothing, facial expressions, or the exact layout of the 'Night Review' scene are not described in the sources.
- ·Daumier’s specific brushwork style for this particular painting is not detailed; the guide relies on general oil painting techniques attributed to old masters and Reynolds.
- ·The exact year of creation is not available, so period-specific material variations cannot be precisely pinpointed beyond general 19th-century practices.
- ·The specific pigments used by Daumier for this work are not listed; the palette is inferred from the grisaille method described in Source 1.
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 (grisaille), glazing, and scumbling techniques
- ON COPYING — applied to Advice on avoiding over-modeling and rigid outlines
Laws of Contrast of Colour↗
- 315. As to the advantages... — applied to Color harmony and simultaneous contrast
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 of genre painting and subject matter
Wikipedia bio — Honore Daumier↗
- Honore Daumier — part 6 — applied to Artist’s style, realism, and typical subjects
Read more about the corpus on the sources page and how the guides are built on the methods page.
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