plate no. 4134
Woman in a Black Hat, Berthe la Sourde
recreation guide
Henri de Toulouse-Lautrec’s 'Woman in a Black Hat, Berthe la Sourde' (1890) is a quintessential example of his Post-Impressionist portraiture, capturing the bohemian atmosphere of Montmartre, the area of Paris he rarely left after 1882 (Source 4). The work is executed in oil on board, a medium that allows for the 'richer and denser color' and 'greater flexibility' characteristic of oil painting traditions (Source 2). While specific visual details of the subject’s expression or clothing pattern are not described in the provided sources, the artwork reflects Lautrec’s focus on the social milieu of Montmartre, where he studied under Fernand Cormon and developed his distinctive style (Source 4). The painting likely employs the layered techniques common to the period, potentially involving glazing and scumbling to achieve depth and tonal variation, methods practiced by old masters and discussed in contemporary treatises on oil painting (Source 1).
estimated time
20-30 hours over 5-7 sessions
materials
6 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Wood board or panel | Support for the painting, consistent with the artwork's medium | MDF or plywood panel, primed |
| Oil paints (various pigments) | Primary medium for color application | Standard tube oil paints |
| Linseed oil or poppy seed oil | Binder and medium for thinning paints and creating glazes | Refined linseed oil or walnut oil |
| Turpentine or odorless mineral spirits | Thinner for initial layers and cleaning brushes | Odorless mineral spirits (OMS) |
| Varnish (optional) | For final protection and enhancing depth, if using glazing techniques | Dammar or synthetic resin varnish |
| Brushes (various sizes) | Application of paint, from broad underpainting to fine details | Hog bristle and synthetic brushes |
preparation
surface prep
The artwork is on board, so the surface should be prepared with a ground suitable for oil painting. While the sources do not specify Lautrec’s exact ground recipe, traditional oil painting on wood involves applying a gesso or oil-based ground to create a stable, slightly absorbent surface (Source 2). Ensure the board is sealed to prevent oil from rotting the wood.
underdrawing
The sources do not provide specific information on Toulouse-Lautrec’s underdrawing methods for this particular work. However, artists of this period often used charcoal or thinned oil to sketch the composition lightly before applying paint. Given the lack of specific evidence, it is recommended to use a light, non-permanent underdrawing that can be painted over.
underpainting
A grisaille (monochrome underpainting) may be employed, as described in Source 1, where the artist 'mentally extracts the red and yellow colours' to establish values. This technique allows for subsequent glazing and scumbling to build color depth. Alternatively, a tonal underpainting using earth tones (ochres, umbers) could be used, consistent with the 'earths, ochres and marls' mentioned as useful for broken tones (Source 3).
color palette
Black
Ivory black or lamp black
The black hat and shadows, consistent with the title and period palette
White
Lead white or zinc white
Highlights and mixing with other colors
Yellow Ochre
Natural yellow ochre
Skin tones and warm mid-tones, as ochres are noted for 'covering well and drying easily' (Source 3)
Red Ochre/Vermilion
Red ochre or cinnabar
Warm accents and flesh tones, if applicable
Ultramarine
Ultramarine blue
Cool shadows and complementary contrasts, as mentioned in Reynolds’ method (Source 1)
Earth tones (Umbers, Siennas)
Burnt umber, raw sienna
General modeling and background, as earths are 'quite sufficient for broken tones' (Source 3)
composition
The sources do not describe the specific compositional layout of 'Woman in a Black Hat'. However, Toulouse-Lautrec’s work is characterized by its focus on Montmartre’s bohemian lifestyle (Source 4). The composition likely emphasizes the subject’s presence within this social context, using cropping and angle typical of his portraits. Without specific visual descriptions, avoid inventing details about the background or pose.
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Lightly sketch the composition on the prepared board using charcoal or thinned oil. Focus on the proportions and placement of the figure.
Tip — Keep lines light to avoid interfering with subsequent layers.
Underdrawing
underpainting
step 02
Apply a monochrome underpainting (grisaille) using black, white, and possibly ultramarine to establish values. This step 'mentally extracts the red and yellow colours' to focus on form and light (Source 1).
Tip — Ensure the underpainting is completely dry before proceeding to color layers.
Grisaille
first pass
step 03
Begin applying color using glazing and scumbling techniques. Glaze with transparent oil colors to build depth, and scumble with semi-opaque colors to create texture and coldness over darker grounds (Source 1).
Tip — Use oil as a medium initially, gaining mastery before mixing with varnish (Source 1).
Glazing and Scumbling
refining
step 04
Refine the portrait by adjusting tones and adding details. Use earth tones like ochres and umbers for broken tones, as they 'cover well and dry easily' (Source 3).
Tip — Avoid overworking the paint; allow layers to dry between applications.
Layering
finishing
step 05
Complete the painting by ensuring color harmony and contrast. Use complementary colors to create visual tension and interest, as per color theory principles (Source 6).
Tip — Check the overall balance of warm and cool tones.
Color Harmony
varnishing
step 06
Once the painting is fully dry, apply a varnish to protect the surface and enhance the depth of the glazes. This can be done with a resin-based varnish (Source 2).
Tip — Ensure the painting is completely dry to prevent trapping solvents.
Varnishing
critical techniques
Glazing
Applying a transparent coat of color over a dry underpainting to build depth and luminosity. This technique is described as 'a transparent coat of colour' (Source 1).
Scumbling
Applying a semi-opaque layer of paint over a darker ground to create texture and coldness. This technique allows the underlying painting to 'make itself felt' (Source 1).
Use of Earth Tones
Incorporating ochres and umbers for their covering power and ease of drying, suitable for broken tones (Source 3).
common pitfalls
- →Overworking the paint: Oil painting requires patience; allow layers to dry to avoid muddying colors (Source 2).
- →Ignoring the underpainting: The grisaille or tonal underpainting is crucial for establishing values before adding color (Source 1).
- →Using incompatible mediums: Ensure that oils and varnishes are compatible to prevent cracking or yellowing (Source 2).
- →Neglecting color harmony: Failing to consider complementary or analogous colors can result in a disjointed palette (Source 6).
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 the subject (e.g., facial expression, exact clothing pattern) are not described in the sources.
- ·Toulouse-Lautrec’s exact pigment choices for this specific painting are not detailed; the palette is inferred from general period practices and the sources provided.
- ·The specific ground preparation used by Lautrec for this board is not mentioned; general oil painting practices are applied.
- ·The exact sequence of layers (e.g., whether he used a full grisaille or a tonal underpainting) is not specified; both options are presented based on general techniques.
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
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Use of earth tones and pigment selection
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to Medium properties, materials, and varnishing
Wikipedia bio — Henri de Toulouse-Lautrec↗
- part 2 — applied to Artist’s context, Montmartre setting, and period
Wikipedia: Harmony (color)↗
- Harmony (color) — part 1 — applied to Color theory and palette harmony
Read more about the corpus on the sources page and how the guides are built on the methods page.
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