plate no. 9321
Vitoria 1850
Carlos Saenz de Tejada, 1952
recreation guide
This recreation guide addresses the painting 'Vitoria 1850' by Carlos Saenz de Tejada, dated 1952. It is important to note a significant discrepancy in the provided metadata: Source 7 identifies 'Carmen Calvo Sáenz de Tejada' as a Spanish conceptual artist born in 1950, whose career began in the 1970s. The artwork title suggests a historical cityscape of Vitoria from 1850, but the artist attribution and date (1952) conflict with the biographical data of the only Saenz de Tejada mentioned in the sources. Consequently, this guide cannot rely on specific visual details of the painting itself, as no source passage describes the imagery of 'Vitoria 1850'. Instead, the instructions focus on the general practice of oil painting for cityscapes and landscapes, utilizing the technical principles found in the provided sources regarding oil mediums, glazing, and color contrast. The style is listed as Art Nouveau, but without visual confirmation, the guide defaults to standard oil painting techniques applicable to urban scenes.
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
7 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Linseed oil | Primary drying oil for mixing paints and creating mediums; general purpose oil. | — |
| Safflower or Poppyseed oil | For mixing lighter colors like white to prevent yellowing upon drying. | — |
| Oil paints (various pigments) | Primary medium for the cityscape. | — |
| Canvas support | Preferred over wood for holding pigments better and resisting cracking, consistent with post-16th century practices. | — |
| Siccative (optional) | To accelerate drying time if needed, though historically lead-based compounds are now restricted. | Modern non-toxic siccatives |
preparation
surface prep
Prepare a canvas support, which became standard in Northern Europe and Italy from the 16th century onwards as it holds pigments better and resists cracking compared to wood (Source 6). Prime the canvas with a ground suitable for oil painting. While specific priming methods for Saenz de Tejada are not detailed, standard practice involves a gesso or oil-based ground to create a stable surface for the oil layers.
underdrawing
The sources do not specify the underdrawing technique for Carlos Saenz de Tejada. However, for cityscapes, a careful initial drawing is essential to establish perspective and architectural details. Source 5 mentions that early oil painters borrowed from Flemish crafts, which often involved detailed preparatory work. Use a charcoal or thin oil wash to sketch the cityscape layout, ensuring accurate proportions of buildings and streets.
underpainting
Consider using a grisaille (monochrome underpainting) technique. Source 2 describes creating a grisaille by mentally extracting red and yellow colors, leaving the underlying structure in neutral tones. This allows for subsequent glazing and scumbling to build up color and depth. Ensure the grisaille is completely dry before proceeding to color layers.
color palette
White
Titanium White or Zinc White mixed with safflower or poppyseed oil
Highlights and light tones; using oils that yellow less is crucial for maintaining brightness (Source 1).
Earth tones (Ochres, Umbers)
Natural earth pigments mixed with linseed oil
General cityscape structures, shadows, and mid-tones.
Blues and Greens
Ultramarine, Phthalo Blue, Viridian mixed with linseed oil
Sky, shadows, and foliage if present; these colors can be glazed over the grisaille.
Reds and Yellows
Cadmium Red, Yellow Ochre mixed with linseed oil or varnish
Glazing and scumbling to add warmth and vibrancy to the cityscape, as described in Source 2.
composition
Since no source describes the specific composition of 'Vitoria 1850', general principles for cityscapes apply. Source 8 notes that landscape views may be imaginary or copied from reality. For a cityscape, ensure a coherent composition with a clear focal point. Use the laws of contrast to harmonize colors; for instance, if the sky is blue, the buildings might reflect complementary warm tones to enhance visual interest (Source 3). Avoid placing colors of the same tone next to each other without variation to prevent flatness.
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the cityscape on the primed canvas using charcoal or a thin oil wash. Establish the horizon line, perspective lines, and major architectural forms.
Tip — Ensure accuracy in perspective, as cityscapes rely heavily on structural integrity.
Preparatory drawing
underpainting
step 02
Apply a grisaille underpainting using neutral tones (grays, browns) to establish light and shadow. Exclude red and yellow hues at this stage.
Tip — Let the grisaille dry completely before adding color glazes.
Grisaille
first pass
step 03
Begin applying color using glazing techniques. Mix transparent colors with oil or varnish and apply thin layers over the dry grisaille.
Tip — Glazing allows the underlying tones to show through, creating depth and luminosity.
Glazing
refining
step 04
Use scumbling to add semi-opaque layers, particularly for highlights and textured areas. Scumbling over darker grounds can create a cold, grey bloom effect.
Tip — Scumbling is effective for softening edges and adding atmospheric effects.
Scumbling
step 05
Adjust colors based on simultaneous contrast. If a building is next to a blue sky, the building may appear warmer; adjust pigments to compensate for this optical effect.
Tip — Be aware that colors appear different when placed next to their complements.
Simultaneous Contrast
finishing
step 06
Add final details and highlights. Use thicker paint for impasto effects if desired, following the 'fat over lean' principle to ensure durability.
Tip — Ensure each layer is drier than the previous one to prevent cracking.
Fat over Lean
varnishing
step 07
Once the painting is fully dry, apply a varnish to protect the surface and enhance color saturation.
Tip — Use a varnish compatible with oil paints.
Varnishing
critical techniques
Glazing
Applying transparent coats of color over a dry underpainting to build depth and luminosity. This technique was used by old masters and is recommended for achieving rich tones in cityscapes.
Scumbling
Applying semi-opaque paint over a darker ground to create texture and atmospheric effects, such as a grey bloom.
Simultaneous Contrast
Adjusting colors based on their interaction with adjacent colors. For example, a color next to its complement will appear more intense.
Fat over Lean
Applying layers of paint with increasing oil content to ensure proper drying and prevent cracking. This is a fundamental principle of oil painting.
common pitfalls
- →Using linseed oil for white pigments, which can cause yellowing over time. Use safflower or poppyseed oil for lighter colors (Source 1).
- →Applying wet paint over wet paint without adhering to the 'fat over lean' rule, leading to cracking (Source 6).
- →Ignoring simultaneous contrast, resulting in colors that appear dull or inaccurate due to adjacent color interactions (Source 3).
- →Failing to let the grisaille dry completely before glazing, which can muddy the colors (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 visual details of 'Vitoria 1850' are not described in the sources, so the guide relies on general cityscape painting techniques.
- ·The artist Carlos Saenz de Tejada's specific style and palette are not detailed in the provided sources; Source 7 refers to a different artist with a similar name.
- ·No information is provided on the specific Art Nouveau elements that might be present in the painting, so the guide defaults to standard oil painting practices.
- ·The exact composition and subject matter of the cityscape are unknown, limiting specific compositional advice.
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 Grisaille underpainting, glazing, and scumbling techniques.
Laws of Contrast of Colour↗
- 315-318 — applied to Understanding simultaneous contrast and color interaction in the composition.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- part 4 — applied to Materials selection, specifically the use of different drying oils for various pigments.
Wikipedia: Portrait painting↗
- part 8 — applied to Historical context of oil painting techniques, including 'fat over lean' and canvas support.
Wikipedia: Landscape painting↗
- part 1 — applied to General principles of landscape and cityscape composition.
Read more about the corpus on the sources page and how the guides are built on the methods page.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
in this vein
