plate no. 1673
Writer Hans Jaeger
Edvard Munch, 1889
recreation guide
Edvard Munch’s *Writer Hans Jaeger* (1889) represents a pivotal moment in the artist’s development, marking a transition between naturalistic representation and the emerging Expressionist style that would define his mature work. According to art-historical record, Munch’s approach during this period was characterized by a struggle to define his unique idiom, veering between naturalism, as seen in this portrait, and impressionism (Source 2). The work is distinct for its focus on the 'essential' rather than superficial detail; Munch believed that art is complete once the artist has conveyed what they have felt, subordinating all other elements to this emotional truth (Source 2). This painting likely exhibits the 'simplified forms' and 'heavy outlines' that hint at his later style, even while maintaining a naturalistic grounding (Source 2).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (traditional palette) | Primary medium for the painting | High-quality tube oils; Munch used a variety of palettes, but traditional RYB primaries are recommended for historical accuracy in mixing complements (Source 5) |
| Canvas | Support surface | Linen or cotton canvas, primed |
| Oil of Copavia (or modern stand oil/linseed oil) | Medium for glazing and scumbling | Stand oil or refined linseed oil mixed with a small amount of damar varnish for glazing (Source 3) |
| Black, Ultramarine, White | For the initial monochrome underpainting (grisaille) | Ivory Black, Ultramarine Blue, Titanium White |
| Red and Yellow pigments | For glazing and scumbling over the dry grisaille | Cadmium Red/Yellow or Alizarin/Cadmium mixes |
preparation
surface prep
Prepare a standard oil-primed canvas. While specific priming details for this exact work are not in the sources, Munch’s practice in the 1880s involved traditional oil painting methods. Ensure the surface is smooth enough to allow for the 'heavy outlines' and 'simplified forms' characteristic of his transition period (Source 2).
underdrawing
Munch’s preparatory methods for this specific work are not explicitly detailed in the provided sources. However, consistent with his general practice of capturing 'essential' forms rather than minute scientific accuracy, the underdrawing should focus on the emotional significance and structural integrity of the figure rather than photorealistic detail (Source 7). Avoid 'minute visual expression' in the drawing phase if it distracts from the bigger emotional qualities (Source 7).
underpainting
Employ a grisaille (monochrome underpainting) using black, ultramarine, and white. This technique is supported by historical accounts of Sir Joshua Reynolds’ method, which Munch’s contemporaries and predecessors utilized, and is explicitly described in the sources as a valid method for establishing form before color (Source 3). The goal is to establish the 'broad masses' and tonal values without the distraction of hue, allowing the artist to focus on the 'essential' structure of the portrait (Source 2).
color palette
Neutral Grays/Blacks
Black, Ultramarine, White
Underpainting (grisaille) to establish form and value structure (Source 3)
Reds and Yellows
Transparent reds and yellows
Glazing and scumbling over the dry grisaille to introduce warmth and life, particularly in flesh tones and clothing (Source 3)
Complementary Accents
Dependent on local color, but likely blues/greens against reds/oranges
Enhancing color intensity through juxtaposition. Munch’s naturalistic style in this period would benefit from using complementary colors to make hues appear more vibrant without mixing them directly (Source 4, Source 5)
composition
Munch began to 'carefully calculate his compositions to create tension and emotion' during this period (Source 2). While specific compositional details of *Hans Jaeger* are not described in the sources, the artist’s general habit was to subordinate all elements to the emotional content. The composition likely avoids 'smallness' and excessive modeling, favoring broad masses and essential forms (Source 1, Source 2).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the essential forms of the sitter, focusing on the emotional significance rather than minute detail. Avoid being 'tied down to your outline' or 'over-modeling' (Source 1).
Tip — Remember that artistic accuracy depends on conveying emotional significance, not scientific precision (Source 7).
Essentialist Drawing
underpainting
step 02
Create a grisaille using black, ultramarine, and white. This establishes the tonal structure. Ensure this layer is completely dry before proceeding (Source 3).
Tip — This step extracts the red and yellow colors mentally, translating what would be left in nature if those colors were not present (Source 3).
Grisaille
first pass
step 03
Apply glazes and scumbles of red and yellow tones over the dry grisaille. Use oil of copavia (or modern equivalent) as a medium. Glazing involves transparent coats, while scumbling involves semi-opaque painting (Source 3).
Tip — Treat this like tinting an engraving with watercolors. This method allows the underlying painting to make itself felt, creating depth (Source 3).
Glazing and Scumbling
refining
step 04
Adjust color intensity using complementary colors. If a color is too pronounced, soften it by surrounding it with objects of the same color but more intense, or use complements to increase brilliancy (Source 4).
Tip — Do not mix colors to dull them; instead, use juxtaposition to manage chroma and hue shifts (Source 8).
Simultaneous Contrast
finishing
step 05
Review the work for 'essential' completeness. Munch believed a picture is complete when the artist has said everything on their mind, even if it appears 'not complete' to others (Source 2).
Tip — Avoid the tendency to 'smallness' or over-finishing details that do not serve the emotional core (Source 1).
Essentialist Completion
critical techniques
Glazing and Scumbling
Used to build color over a monochrome underpainting. This allows for luminosity and depth, a method practiced by old masters and recommended for achieving mastery in oil painting (Source 3).
Complementary Color Juxtaposition
Used to enhance color intensity without mixing. Placing complementary colors next to each other makes each appear more vibrant (Source 4).
Essentialist Representation
Focusing on the 'essential' forms and emotional content rather than superficial detail. This is central to Munch’s philosophy and style (Source 2).
common pitfalls
- →Over-modeling or being 'too tied down to your outline,' which leads to a timid and lifeless result (Source 1).
- →Attempting to mix colors to dull them, which can cause unwanted hue shifts. Instead, use complementary juxtaposition (Source 8).
- →Focusing on 'scientific accuracy' rather than 'artistic accuracy,' which fails to convey the emotional significance of the subject (Source 7).
- →Adding black to darken colors, which can shift hues toward green or blue. Use complements to darken without hue shift (Source 8).
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 painting (e.g., exact clothing pattern, background elements, facial expression nuances) are not described in the sources and must be inferred from the artist’s general style or external images, which is outside the scope of these instructions.
- ·Munch’s specific brushstroke techniques for this particular portrait are not detailed, though his general use of varied brushstrokes is noted (Source 2).
- ·The exact pigment palette Munch used for this specific work is not listed, so a traditional RYB palette is recommended based on period conventions (Source 5).
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- ON COPYING — applied to Warnings against over-modeling and smallness; emphasis on broad masses (Source 1)
- COLOURING A MONOCHROME — applied to Technique of grisaille underpainting and subsequent glazing/scumbling with red and yellow (Source 3)
The Science of Painting↗
- 4. When two colours separated by more than two others — applied to Use of complementary colors to enhance intensity and manage hue (Source 4)
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to Distinction between scientific and artistic accuracy; focus on emotional significance (Source 7)
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Edvard Munch↗
- part 5 — applied to Munch’s philosophy of 'essential' completeness and transition from naturalism to expressionism (Source 2)
Wikipedia: Complementary colors↗
- Complementary colors — part 1 — applied to Understanding complementary pairs in the traditional RYB model (Source 5)
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Warnings against using black to darken colors due to hue shifts (Source 8)
Read more about the corpus on the sources page and how the guides are built on the methods page.
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