plate no. 0387

Woman s Head

oil, boardPost-Impressionismportraitportraitfigurewomanheadprofile

recreation guide

Henri de Toulouse-Lautrec’s 'Woman’s Head' (1899) is a Post-Impressionist portrait executed in oil on board, a medium that allows for the rich, dense color and textural flexibility characteristic of his later work (Source 3). Created during a period of significant physical decline and alcoholism, the work reflects the artist’s mature style, which stripped away the glamour of Parisian nightlife to reveal individualized, often stark psychological portraits (Source 7). The painting likely employs the principles of simultaneous contrast, where colors are modified by their neighbors to create harmony and depth, a technique Lautrec would have understood through the scientific study of color laws prevalent in his era (Source 1).

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Wood panel or board	Support surface; Lautrec frequently used wood panels for smaller works and portraits, offering a rigid surface suitable for detailed oil application.	MDF or plywood panel, primed
Oil paints (various pigments)	Primary medium. Lautrec’s palette was diverse, but he often used earth tones, ochres, and strong contrasts.	Standard tube oil paints
Linseed oil or poppy seed oil	Binder and medium to thin paints or create glazes. These oils provide flexibility and rich color density.	Cold-pressed linseed oil
Turpentine or odorless mineral spirits	Solvent for thinning paint and cleaning brushes.	Odorless mineral spirits
Brushes (various sizes)	For applying paint, from broad washes to fine details in the face.	Hog bristle and sable brushes

preparation

surface prep

The wood board should be prepared with a ground suitable for oil painting. While specific preparatory methods for this exact piece are not detailed in the sources, Lautrec’s use of oil on board implies a stable, primed surface. Historically, artists used gesso or oil-based grounds to prevent the wood from absorbing the oil binder unevenly (Source 3). Ensure the surface is smooth but retains enough tooth for the paint to adhere.

underdrawing

Lautrec was a prolific draughtsman, creating thousands of drawings (Source 7). It is likely that he began with a charcoal or graphite sketch to establish the proportions and expression of the head. However, specific evidence of his underdrawing technique for this portrait is not provided in the sources. A light, flexible underdrawing is recommended to allow for adjustments during the painting process.

underpainting

Lautrec may have employed a monochrome underpainting (grisaille) to establish values before applying color. This technique, described in historical practice, involves painting in neutral tones to capture light and shadow, followed by glazing with color (Source 5). This method allows for greater control over the final color harmony and depth.

color palette

Flesh tones (ochres, umbers, whites)

Yellow ochre, raw umber, titanium white, and possibly a touch of red lake for warmth.

General use in this artist's palette for skin tones, likely modified by simultaneous contrast with background colors.

Dark accents (blacks, deep blues)

Ivory black, ultramarine blue.

Hair, shadows, and defining features. Lautrec often used strong contrasts to define form.

Background tones (varied)

Dependent on the specific background, but likely complementary to the flesh tones to enhance contrast.

Background. Lautrec chose background colors to harmonize with the subject, often using complementary colors to make the figure stand out (Source 1, Source 2).

composition

The composition focuses on the head, likely cropped closely to emphasize the subject’s expression. Lautrec’s portraits often stripped away extraneous detail to focus on the individual’s character (Source 7). The placement of the head within the frame would be determined by the desired psychological impact, with Lautrec known for his ability to individualize figures even in crowd scenes (Source 7).

step by step

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

underdrawing

step 01
Sketch the outline of the head and major features lightly with charcoal or graphite. Focus on proportions and the angle of the head.
Tip — Keep lines light to allow for adjustments.
Underdrawing

underpainting

step 02
Apply a monochrome underpainting (grisaille) using neutral tones to establish the light and shadow structure of the face. This helps in visualizing the form without the distraction of color.
Tip — Ensure the underpainting is fully dry before proceeding to avoid muddying the colors.
Grisaille

first pass

step 03
Begin applying color in broad strokes, focusing on the general tones of the skin, hair, and background. Use the principle of simultaneous contrast to select colors that will harmonize with adjacent areas (Source 1).
Tip — Pay attention to how colors interact; a color may appear different depending on its neighbor.
Alla prima or layered application

refining

step 04
Refine the details of the face, particularly the eyes and mouth, which are crucial for conveying expression. Use glazing techniques to deepen shadows and enrich colors (Source 5).
Tip — Glazes should be thin and transparent to allow the underpainting to show through, adding depth.
Glazing

finishing

step 05
Make final adjustments to contrast and color harmony. Ensure that the lightest tones are heightened and the darkest tones are lowered as per the laws of contrast (Source 2).
Tip — Step back frequently to assess the overall effect and make corrections.
Contrast adjustment

varnishing

step 06
Once the painting is completely dry, apply a varnish to protect the surface and enhance the colors. Lautrec’s works would have benefited from a protective varnish to preserve the integrity of the oil paint (Source 3).
Tip — Use a varnish compatible with oil paints, such as damar varnish.
Varnishing

critical techniques

Simultaneous Contrast

Lautrec likely utilized the principle that colors appear different when placed next to each other. By choosing complementary colors for the background and subject, he could enhance the vibrancy and depth of the portrait (Source 1).

Glazing

Applying thin, transparent layers of color over a dry underpainting to achieve rich, luminous effects. This technique was common among old masters and likely used by Lautrec to refine his portraits (Source 5).

Chiaroscuro

The use of strong contrasts between light and dark to create a sense of volume and drama. Lautrec’s portraits often feature dramatic lighting to emphasize the subject’s features (Source 2).

common pitfalls

→Ignoring the effects of simultaneous contrast, leading to flat or muddy colors. Colors should be chosen with their neighbors in mind (Source 1).
→Applying glazes before the underpainting is fully dry, which can result in cracking or muddiness (Source 5).
→Overworking the paint, losing the freshness and spontaneity characteristic of Lautrec’s style. Lautrec’s ability to capture individuality suggests a confident, direct approach (Source 7).

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 Lautrec for this particular painting are not detailed in the sources.
·The exact background color and composition of 'Woman’s Head' are not described in the provided passages, so the recreation must rely on general stylistic knowledge.
·Lautrec’s specific brushwork techniques for this portrait are not explicitly documented in the sources.

grounded in

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

Laws of Contrast of Colour↗
- Simultaneous Contrast — applied to Color selection and harmony
The Practice of Oil Painting↗
- Colouring a Monochrome — applied to Underpainting and glazing techniques

cross-referenced from

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