plate no. 3963

Two Men Sitting with a Table, or the Smokers

oil, panelRealismgenre paintingfigurestableinteriorsmokersbottleglass

recreation guide

This artwork, 'Two Men Sitting with a Table, or the Smokers,' is a genre painting by Honoré Daumier, executed in oil on panel. Daumier is recognized as a pioneer of realistic subjects, treating them with a critical point of view regarding class distinctions, though he did not strictly identify with the Realist ideology in the manner of Courbet (Source 1). His work is characterized by a 'searching truthfulness' and 'powerful directness,' often depicting the working class at leisure, such as men eating, drinking, or playing chess around a table (Source 1). The painting falls within the tradition of genre art, which portrays ordinary people engaged in common activities without specific individual identities, distinguishing it from portraiture or history painting (Source 2). Daumier’s approach combines the temperament of a Romantic with the observational approach of a Realist, focusing on the human figure rather than landscape (Source 1).

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Wood panel	Support surface, consistent with the medium listed as 'oil, panel'	Birch plywood or MDF panel, primed
Oil paints	Primary medium, offering richer and denser color and flexibility	Standard tube oil paints
Linseed oil or poppy seed oil	Binder for pigments; provides flexibility and drying time control	Refined linseed oil or walnut oil
Turpentine	Thinner for initial layers and cleaning	Odorless mineral spirits or turpentine
Varnish (optional)	For glazing techniques or final protection	Dammar varnish or synthetic resin varnish
Charcoal or graphite	Underdrawing	Vine charcoal or graphite pencil

preparation

surface prep

The artwork is on a panel. Historically, Daumier worked on wood panels. The surface should be prepared with a ground suitable for oil painting. While specific priming recipes for Daumier are not detailed in the sources, the use of panel supports was common in the period and for this artist. Ensure the surface is smooth to allow for the 'directness' of his brushwork.

underdrawing

Daumier’s preparatory methods are not explicitly detailed in the provided sources. However, given his practice of painting the same subject repetitively to exhaust the theme (Source 1), a loose, expressive underdrawing is likely appropriate to capture the 'truthfulness' of the vision without over-refining the initial structure. Avoid rigid, academic line work; instead, use the drawing to establish the 'uncouthness' and directness characteristic of his style.

underpainting

Consider using a grisaille (monochrome underpainting) technique. Source 5 describes a method where a grisaille is applied first, then glazed and scumbled with oil. This technique allows for the extraction of red and yellow tones initially, translating what would be left in nature if these colors were not present. This aligns with the 'old masters' practice mentioned in Source 5, which Daumier’s contemporaries and predecessors utilized. The underpainting establishes the tonal values and chiaroscuro before color is introduced.

color palette

Earth tones (Umbers, Ochers)

Natural earth pigments

General use in this artist's palette; Daumier’s realism often relied on naturalistic, unidealized colors.

Blues and Greens

Ultramarine, Verdigris

Backgrounds or clothing; Source 5 mentions using ultramarine in initial paintings.

Reds and Yellows

Vermilion, Yellow Ochre

Glazing and scumbling layers; Source 5 notes these are added later via glazing/scumbling to achieve warmth and depth.

Whites and Blacks

Lead White (historically), Ivory Black

Chiaroscuro and tonal contrast; Source 5 mentions black, ultramarine, and white in initial paintings.

composition

The composition likely features figures engaged in common activities, such as smoking or sitting at a table, consistent with Daumier’s exploration of 'the working class at leisure around a table' (Source 1). The figures should not be treated as specific portraits but as generic representations of everyday life (Source 2). The arrangement should emphasize the 'human figure' as Daumier’s primary domain, rather than landscape details (Source 1). The composition may benefit from the 'aggregate force of color or line' to create a focal point, as suggested by Source 6, rather than relying solely on sharp contrasts.

step by step

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

underdrawing

step 01
Sketch the figures loosely on the prepared panel, focusing on the posture and interaction of the men at the table. Avoid rigid lines; aim for the 'directness' of Daumier’s vision.
Tip — Remember that Daumier painted subjects repetitively to exhaust the theme (Source 1), so feel free to adjust the composition until it feels 'truthful'.
Loose sketching

underpainting

step 02
Apply a grisaille underpainting using black, white, and possibly ultramarine to establish the tonal values and chiaroscuro. This monochrome layer will serve as the foundation for subsequent glazes.
Tip — Ensure the grisaille is completely dry before proceeding. This step extracts the red and yellow tones, focusing on form and light (Source 5).
Grisaille

first pass

step 03
Begin applying color through glazing and scumbling. Use transparent coats of color (glazing) and semi-opaque layers (scumbling) to introduce red and yellow tones, as well as other hues, over the grisaille.
Tip — Glazing involves a transparent coat of color, while scumbling is semi-opaque, allowing the underlying painting to show through. This technique was practiced by old masters and can create a 'grey bloom' or coldness when used over darker grounds (Source 5).
Glazing and Scumbling

refining

step 04
Refine the figures and the table, paying attention to the 'simultaneous contrast' of colors. Be aware that adjacent colors will influence each other’s appearance, so adjust tones accordingly to maintain harmony.
Tip — The eye may perceive colors inaccurately due to mixed contrast; take breaks to reset your vision and ensure the colors are true to the model or intended effect (Source 3).
Simultaneous Contrast

finishing

step 05
Add final details and adjustments. Daumier’s style is characterized by 'uncouthness' and a lack of idealization, so avoid over-polishing. The goal is 'searching truthfulness' rather than smooth finish.
Tip — Daumier’s paintings were radical for their time due to their acceptance of 'uncouthness' (Source 1). Embrace the roughness if it serves the realism.
Direct Brushwork

varnishing

step 06
Apply a varnish to protect the painting and unify the surface sheen. This can also enhance the depth of the glazes.
Tip — Use a varnish compatible with oil paints, such as dammar or synthetic resin, to provide protection and texture (Source 7).
Varnishing

critical techniques

Glazing and Scumbling

Used to build up color and tone over a grisaille underpainting. This method allows for rich, deep colors and subtle transitions, as practiced by old masters and referenced in Source 5.

Simultaneous Contrast

Understanding how adjacent colors influence each other’s perception. This principle helps in harmonizing the composition and accurately depicting the modifications of light and color (Source 3).

Chiaroscuro

The use of strong contrasts between light and dark to create volume and drama. Source 4 discusses chiaroscuro as a gradation of light produced by juxtaposing tones of the same color.

common pitfalls

→Over-refining the brushwork: Daumier’s style is noted for its 'uncouthness' and directness. Polishing the painting too much may lose the 'truthfulness' of his vision (Source 1).
→Ignoring color contrast: Failing to account for simultaneous contrast can lead to inaccurate color perception and disharmony in the composition (Source 3).
→Rushing the underpainting: The grisaille layer must be completely dry before glazing to prevent muddying the colors (Source 5).
→Treating figures as portraits: Genre painting depicts ordinary people without specific identities. Avoid giving the figures distinct, individualized features that would turn the work into a portrait (Source 2).

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 pigments used by Daumier for this particular painting are not listed in the sources.
·The exact dimensions of the panel are not provided.
·Daumier’s specific underdrawing materials (e.g., charcoal vs. pencil) are not detailed in the sources.
·The lighting conditions in the original scene (e.g., candlelight vs. daylight) are not specified, which affects the color temperature and chiaroscuro.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

Laws of Contrast of Colour↗
- 315-318 — applied to Step 4, critical techniques
- 6 — applied to Critical techniques (Chiaroscuro)
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting, step 2, step 3, critical techniques
The Elements of Drawing↗
- 231 — applied to Composition notes

cross-referenced from

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

Wikipedia bio — Honore Daumier↗
- part 6 — applied to Overview, composition notes, step 1, step 5, common pitfalls
Wikipedia: Genre painting↗
- part 1 — applied to Overview, composition notes, common pitfalls
Wikipedia: Oil painting↗
- part 1 — applied to Materials list, step 6