plate no. 4772

Two Girls With An Oleander

oil, canvasRomanticismportraitfiguresflowerstreearchitectureportraitgarden

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