plate no. 4772

Two Girls With An Oleander

oil, canvasRomanticismportraitfiguresflowerstreearchitectureportraitgarden

what to study here

It shows how soft edges, a warm unified wall, and three clear value zones can hold a two-figure portrait together in a shallow space.

Study how the painter handles a limited, warm range of values in a shallow space. The vision guide reads three zones: near-black hair and clothing, a bright golden wall, and a mid-value layer of dusty pink flowers and olive foliage. Squint and check that those zones hold. The older woman's pale profile on the right is the brightest element, and the younger girl sits slightly behind her, which gives depth without opening up the room. Look at the edges. Faces blur into the wall and the skin-to-hair transition is not declared, while the oleander blossoms are dabbed in with color shifts rather than outlined. The dark stems are thin, tapering strokes, and the wall is worked smoothly with little visible brushwork. The molding and potted plant keep the space compressed. Notice how the eye enters at the profile and travels left to the flowering tree. Copy the soft edges and the wall's warmth before attempting any detail, because the vision guide stresses that the wall is not a blank background.

key decision

The painter kept edges soft throughout and let the figures merge into a warm golden wall, so the three value zones carry the picture rather than outlines.

From the record

Institution: Wadsworth Atheneum Museum of Art
Location: Wadsworth Atheneum Museum of Art
Inception: 1890

Wikidata item Q140367679

recreation guide

Gustav Klimt’s 'Two Girls With An Oleander' (1890) represents an early phase in the artist’s career, predating his famous 'Golden Phase' and his involvement with the Vienna Secession. At this time, Klimt was working within a more traditional academic framework, though his work would later evolve into the radical symbolism that characterized his mature style. The painting is an oil on canvas portrait, a medium that offers greater flexibility, richer color density, and a wider range from light to dark compared to earlier techniques like egg tempera (Source 7). While the specific visual details of the girls and the oleander are not described in the provided sources, the work belongs to a period where Klimt was establishing his reputation before the controversial Faculty Paintings and the formation of the Vienna Secession in 1897 (Source 3, Source 5).

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (various pigments)	Primary medium for the painting	—
Linseed or poppy seed oil	Binder for pigments; provides flexibility and rich color	Cold-pressed linseed oil or stand oil
Turpentine	Thinner for initial layers and cleaning	Odorless mineral spirits or pure gum turpentine
Canvas	Support for the oil paint	Linen or cotton canvas, primed
Varnish (optional, for glazing)	To mix with oil for glazing techniques as described by old masters	Dammar varnish or synthetic resin varnish

preparation

surface prep

The surface should be prepared as a standard oil painting ground. While the sources do not specify Klimt’s exact ground for this 1890 work, oil painting traditionally involves a binder combined with drying oil (Source 7). The ground should be smooth to allow for the detailed finish characteristic of academic portraiture from this period, though Klimt’s later work often featured textured surfaces. Given the date (1890), a traditional white or off-white gesso ground is likely, consistent with academic training.

underdrawing

The sources do not provide specific information on Klimt’s underdrawing methods for this early work. However, copying exercises were recommended to develop craftsmanship and control over outline and modeling (Source 2). It is likely that a careful underdrawing was made to establish the figures and the oleander, given the portrait genre’s demand for accuracy. If the artist is recreating this, a charcoal or thinned oil sketch is appropriate.

underpainting

A grisaille (monochrome underpainting) is a historically supported technique for oil painting, particularly among old masters. The process involves mentally extracting red and yellow colors to create a neutral base, which is then glazed and scumbled with color (Source 1). This method allows for greater control over tone and value before introducing color. For a recreation, establishing the values in a neutral tone (such as raw umber or gray) before applying color layers is recommended.

color palette

Flesh tones

Lead white, vermilion, yellow ochre, and earth tones

General use in portrait painting; specific hues for the girls are not described in sources

Green

Viridian, chrome green, or mixed blue and yellow

The oleander leaves; green is a complementary color to red, which may be present in the girls’ clothing or lips, creating contrast (Source 6)

Red/Pink

Vermilion, cadmium red, or rose madder

Likely used for the oleander flowers or accents in clothing; red and green are complementary pairs in the traditional RYB model (Source 6)

Black/Dark tones

Ivory black, burnt umber, or ultramarine mixed with white

Shadows and background; Sir Joshua Reynolds used black, ultramarine, and white for initial paintings (Source 1)

composition

The sources do not describe the specific composition of 'Two Girls With An Oleander.' However, Klimt’s later work involved transforming traditional allegory and symbolism into a new language (Source 3). In this early portrait, the composition likely follows academic conventions, focusing on the figures and their interaction with the natural element (the oleander). The use of chiaroscuro, or the gradation of light and dark, would be important to create depth and volume, as placing flat tints of different tones next to each other produces a true gradation of light (Source 4).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the figures and the oleander on the canvas using charcoal or thinned oil. Focus on accurate proportions and placement.
Tip — Ensure the outline is not too rigid, as copying exercises can help overcome timidity in departing from the outline (Source 2).
Underdrawing

underpainting

step 02
Create a grisaille underpainting using neutral tones (e.g., raw umber or gray) to establish the values of the composition. Mentally extract red and yellow colors to focus on form and light.
Tip — This step is crucial for controlling the tonal structure before adding color. It reflects the method used by old masters (Source 1).
Grisaille

first pass

step 03
Apply initial layers of color using oil. Use glazing techniques to build up transparent coats of color, particularly for the flesh tones and the green of the oleander.
Tip — Glazing involves applying a transparent coat of color over a dry underpainting. This technique allows for rich, luminous colors (Source 1).
Glazing

refining

step 04
Refine the details of the faces, hands, and the oleander leaves. Use scumbling, a semi-opaque painting technique, to add texture and highlight areas, especially over darker grounds.
Tip — Scumbling can create a grey bloom or coldness when used over darker grounds, which may be useful for shadows or background elements (Source 1).
Scumbling

finishing

step 05
Adjust the contrast between colors. Place complementary colors (e.g., red and green) next to each other to enhance their vibrancy and create visual interest.
Tip — Complementary colors create strong contrast when placed side by side, which can help define forms and draw attention to key areas (Source 6).
Simultaneous Contrast

varnishing

step 06
Once the painting is completely dry, apply a varnish to protect the surface and unify the sheen of the paint layers.
Tip — Varnish can be mixed with oil for glazing, but a final protective varnish should be applied only after the painting is fully cured (Source 1, Source 7).
Varnishing

critical techniques

Glazing

Applying transparent coats of color over a dry underpainting to build depth and luminosity. This was a common practice among old masters and is recommended for achieving rich colors in oil painting (Source 1).

Scumbling

Using semi-opaque paint to add texture and highlights, particularly over darker areas. This technique can create a grey bloom or coldness, useful for atmospheric effects (Source 1).

Chiaroscuro

Creating a gradation of light and dark by juxtaposing tones of the same color. This enhances the three-dimensionality of the figures and objects (Source 4).

Complementary Contrast

Placing complementary colors (e.g., red and green) next to each other to create strong visual contrast and harmony. This is based on traditional color theory (Source 6).

common pitfalls

→Over-modeling or being too tied down to the outline, which can result in a stiff appearance. Copying works like Reynolds’s 'Portraits of Two Gentlemen' can help correct this tendency (Source 2).
→Using too much medium or varnish in the early stages, which can lead to cracking or uneven drying. It is important to gain mastery over the medium before mixing varnish with oil (Source 1).
→Ignoring the principles of simultaneous contrast, which can result in muddy colors. Understanding how complementary colors interact is essential for vibrant paintings (Source 6).
→Failing to allow the grisaille underpainting to dry completely before glazing, which can cause the layers to mix and lose their 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.

·The specific pigments used by Klimt in 1890 are not detailed in the sources. While lead white and vermilion were common, the exact palette for this painting is unknown.
·The visual details of the girls’ clothing, facial expressions, and the specific arrangement of the oleander are not described in the sources, making it difficult to provide precise instructions for these elements.
·Klimt’s specific brushwork and texture preferences for this early work are not covered. His later work is known for its decorative elements, but this painting is from his academic period.
·The exact ground preparation and priming materials used by Klimt for this canvas are not specified.

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
- ON COPYING — applied to Advice on overcoming stiffness and over-modeling
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints — applied to Chiaroscuro and tonal gradation

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia bio — Gustav Klimt↗
- part 4 — applied to Context of Klimt’s early career and style evolution
Wikipedia: Complementary colors↗
- Complementary colors — part 1 — applied to Color contrast and harmony
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to General oil painting materials and advantages

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

Light floods from the upper right, casting the two figures in profile against a warm golden wall. The older woman's head dominates the right side of the composition, her pale face and covered hair the brightest element; the younger girl nestles slightly behind and to her left, creating depth. The eye enters at the woman's profile, then travels leftward to the flowering oleander tree, whose delicate pink blooms and dark stems create visual tension against the monumental warmth of the background. The architectural molding and the potted plant establish a shallow, compressed interior space.

value structure

The darkest darks are the two figures' hair and clothing (nearly black), the tree's woody stems, and the background wall's molding detail. The brightest lights are the women's skin tones and the golden wall itself. There's a distinct mid-value group in the flowers (dusty pink to coral) and foliage (olive-green), which sit between the stark darks and luminous flesh. Squint and you'll see three clear zones: dark figures, bright wall, and a delicate flower-and-stem middle layer.

observed palette and mixes

#e0b871
Yellow ochre + titanium white + raw sienna
The dominant wall background and the warmest flesh tones on the woman's face and neck
#c78d51
Burnt umber + yellow ochre + cadmium red light
The molding trim, warmer shadow areas on skin, and deeper flower tones
#9e6c43
Burnt umber + raw sienna + cadmium red light
Mid-value shadows on faces, the tree's woody branches, and coral-pink flower petals
#684834
Ivory black + burnt umber + raw sienna
Hair, clothing shadows, and the darkest stems of the oleander
#48392c
Ivory black + burnt umber
The deepest folds in fabric and background architectural details
#24211f
Ivory black + raw sienna
The near-black background behind the tree and the darkest shadow accents

edges and brushwork

Edges are consistently soft throughout—faces blur seamlessly into the background, and the transition between skin and hair is nebulous rather than declared. The oleander blossoms are rendered with loose, impressionistic touches; individual petals are suggested by color shifts and dabbed highlights rather than outlined. The dark tree stems are painted with confident, thin strokes that taper naturally, while the wall behind them is worked smoothly with minimal visible brushwork, allowing the golden warmth to feel atmospheric.

a working sequence

01
Establish the warm ground
Begin with a toned underpainting using yellow ochre and raw sienna mixed with linseed oil, applied across the entire canvas. This warm base unifies the golden wall and prepares the surface for skin tones. Leave the upper-right corner slightly brighter to suggest light direction. Work loosely at this stage; precision comes later.
02
Block in the silhouettes
Using burnt umber mixed with ivory black and a touch of raw sienna, map the two figures' outlines and masses—the woman's large profile head on the right, the smaller girl's head tucked behind. Block in the tree's main trunk and major branch structure on the left side. Keep shapes simple; you're establishing composition and the dark-light relationship, not modeling detail.
03
Define the architectural frame
Paint the molding trim running horizontally across the lower third in burnt umber and yellow ochre. Note how it's warmer than the shadow areas but darker than the wall proper. Add the subtle vertical plaster division line visible behind the tree on the right. These references anchor the shallow depth and give the figures something to sit against.
04
Model the woman's face and neck
Layer soft flesh tones over the blocked-in shadow—yellow ochre and titanium white for the lit side, warm toward the ear. Add gentle shadows under the cheekbone and jaw using burnt umber and cadmium red light, keeping edges diffuse. The profile should feel luminous against the warm wall behind it; resist hard outlines. Paint the covered hair with burnt umber and ivory black, leaving soft transitions.
05
Paint the girl's head and establish the younger face
The girl's profile is smaller and positioned behind the woman's shoulder. Use the same flesh tone recipe but add slightly more raw sienna for a warmer undertone. Her face is partially shadowed; drop the values subtly. Keep her features gentle and less detailed than the woman's—she recedes spatially. Her hair merges with the background, so blend carefully.
06
Render the oleander flowers and foliage
Paint the foliage in sap green mixed with burnt umber and ivory black for depth. The leaves are long and narrow; use thin, directional strokes. For the flowers, mix cadmium red light with yellow ochre and white to create the dusty pink blooms. Vary the tint—some flowers lean more coral (add raw sienna), others more mauve (add a whisper of ivory black). Layer lighter touches on the flower clusters to create delicate clusters rather than painting every petal. The flowers should feel fresh but not overworked.
07
Paint the tree's structure and final stems
The woody stems are rendered in burnt umber and ivory black with occasional highlights of burnt umber and raw sienna on the lit side. Make strokes taper naturally from thick branch to thin twig. The stems should feel three-dimensional but remain painterly—not botanical illustration. The dark wood contrasts sharply with the pink flowers it carries, so let both sing.
08
Soften transitions and unify the whole
Step back and identify hard edges—the biggest culprits will be where the figures meet the wall and where the foliage overlaps flesh. Use a soft, dry brush loaded with the wall tone to gently blur these boundaries. Check that the two faces feel integrated into the warm environment. Add a final glaze of diluted yellow ochre over shadow areas if the background feels flat. The painting should feel like a unified light study, not a collection of parts.
09
Final detail and atmospheric depth
Using a small round brush, refine features on the woman's face—the eye, nostril, and mouth line—with restrained detail. Her age and stillness should come through subtle modeling, not sharp definition. The girl's features stay even softer. Add final highlights to the brightest flowers and a few catch-lights on the women's cheeks and hair if needed. The entire painting should read as intimate and quiet, not theatrical.

where studies of this painting go wrong

Painting the faces too sharply or with heavy contours—Klimt dissolves edges. Soft blending is essential; the profiles should feel almost dreamlike against the warm wall.
Making the oleander flowers too uniform or decorative—vary the pink tones, let some petals be lost in shadow, and avoid painting every single bloom. The tree should feel like a living plant, not wallpaper.
Neglecting the golden wall as a character in its own right—it's not a blank background. It has subtle warm variation and presence. If it falls flat, the whole painting collapses.
Overworking the dark hair and clothing—these are the anchor values, but they shouldn't feel dead or muddy. Mix burnt umber with raw sienna for warmth, and let hints of reflected light from the wall show in the shadow areas.
Forgetting the spatial compression—the figures are close to the picture plane and the wall is very near them. There is no deep space. Keep the composition shallow and intimate; pushing anything too far back will betray the claustrophobic, reverie-like mood.

measured difficulty