plate no. 8891
Young Routy
recreation guide
Young Routy (1882) is an early portrait by Henri de Toulouse-Lautrec, created during his formative years studying under Fernand Cormon in Paris (Source 5). As a Post-Impressionist work, it reflects the artist’s transition from academic training toward the bohemian subjects that would define his career, though this specific piece remains a portrait rather than a scene of nightlife (Source 4). The painting likely exhibits the influence of his teachers, particularly the emphasis on solid draftsmanship and tonal modeling characteristic of the late 19th-century French academic tradition, while beginning to show the loose, expressive handling that would later distinguish his style. Lautrec’s immersion in the artistic circles of Montmartre during this period exposed him to contemporaries like Vincent van Gogh and Émile Bernard, whose experiments with color and light may have begun to inform his approach to oil application (Source 5).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Lead White, Ultramarine, Black, Yellow Ochre, Vermilion) | Primary pigments for underpainting and glazing, consistent with historical practices cited by Reynolds and general oil painting traditions. | Titanium White (for safety, though Lead White is historically accurate), Phthalo Blue (substitute for Ultramarine if needed, though Ultramarine is preferred for authenticity), Mars Black, Yellow Ochre, Cadmium Red. |
| Linseed oil | Drying oil medium for mixing paints and creating glazes. | Refined linseed oil. |
| Oil of Copaiba (or modern substitute like Gamsol/odorless mineral spirits) | Medium for the first and second paintings, as cited by Sir Joshua Reynolds in the context of old master techniques relevant to the period's academic training. | Odorless mineral spirits or Gamsol. |
| Canvas or linen panel | Support for the oil painting. | Primed linen canvas. |
| Varnish | For final glazing and protection, mixed with oil for mastery-level glazing techniques. | Dammar varnish or synthetic resin varnish. |
preparation
surface prep
The surface should be prepared with a traditional ground suitable for oil painting. While specific details of Lautrec’s ground for this 1882 work are not explicitly detailed in the sources, the academic training under Cormon and Bonnat would have emphasized a stable, white or off-white gessoed surface to allow for the tonal modeling and glazing techniques described in historical texts (Source 1, Source 5).
underdrawing
Lautrec was trained as a draughtsman and caricaturist from a young age, sketching in exercise workbooks (Source 4). It is likely that the underdrawing for Young Routy was executed with precision, reflecting the academic emphasis on form. However, specific details of the underdrawing for this painting are not provided in the sources. The artist’s later work often shows loose, expressive lines, but in 1882, he was still under the influence of strict academic instruction (Source 5).
underpainting
The underpainting likely involved a monochrome base, possibly a grisaille, to establish tonal values before applying color. This technique is supported by historical accounts of old master methods, where the first and second paintings were done with limited colors (black, ultramarine, white) and oil of copaiba (Source 1). This approach allows for the mental extraction of red and yellow tones, leaving a neutral ground for subsequent glazing (Source 1).
color palette
White
Lead White (historically) or Titanium White
Highlights and mixing with other pigments for lighter tones.
Ultramarine
Ultramarine Blue
Shadows and cool tones, part of the initial underpainting palette (Source 1).
Black
Ivory Black or Mars Black
Deep shadows and defining forms in the underpainting (Source 1).
Yellow Ochre
Yellow Ochre
Warm mid-tones and flesh tones, applied via glazing or scumbling.
Vermilion/Red Ochre
Vermilion or Red Ochre
Red tones in flesh and clothing, applied via glazing or scumbling.
composition
The composition of Young Routy is a portrait, focusing on the subject’s likeness. Specific compositional details such as the subject’s pose, background elements, or lighting direction are not described in the provided sources. Therefore, the recreation should focus on the general principles of portraiture from the late 19th century, emphasizing the subject’s presence and the interplay of light and shadow. Lautrec’s later work often featured dynamic compositions and cropped views, but in 1882, he was likely adhering to more traditional portrait conventions (Source 5).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the portrait lightly with charcoal or thinned oil paint, focusing on accurate proportions and facial features.
Tip — Ensure the drawing is secure but not too dark, as it will be covered by subsequent layers.
Academic draftsmanship
underpainting
step 02
Apply a monochrome underpainting using black, ultramarine, and white mixed with oil of copaiba or a similar medium. Establish the basic tonal values of the portrait.
Tip — Mentally extract red and yellow colors, focusing on the underlying structure and light/shadow relationships (Source 1).
Grisaille
first pass
step 03
Once the underpainting is dry, begin applying color using glazing and scumbling techniques. Start with transparent glazes of yellow and red tones over the grisaille.
Tip — Glazing involves applying a transparent coat of color, allowing the underlying painting to show through (Source 1).
Glazing
refining
step 04
Use scumbling, a semi-opaque painting technique, to adjust tones and add texture. Scumbling over darker grounds can create a grey bloom effect.
Tip — Be mindful of the coldness that scumbling can introduce over dark areas (Source 1).
Scumbling
finishing
step 05
Refine the portrait by adjusting colors and tones, paying attention to the simultaneous contrast of colors. Ensure that the colors harmonize and that the light modifications on the model are accurately represented.
Tip — Consider how adjacent colors affect each other, and adjust tones accordingly to achieve harmony (Source 2, Source 3).
Simultaneous contrast
varnishing
step 06
Apply a final varnish to protect the painting and enhance the depth of the glazes. Mix varnish with oil for a more controlled application if desired.
Tip — Ensure the painting is completely dry before varnishing to avoid trapping moisture.
Varnishing
critical techniques
Glazing
Applying transparent coats of color over a dry underpainting to build up depth and luminosity. This technique is central to the old master method described in the sources (Source 1).
Scumbling
Using semi-opaque paint to adjust tones and add texture, particularly over darker grounds to create a grey bloom effect (Source 1).
Simultaneous Contrast
Understanding how adjacent colors affect each other’s appearance, allowing the artist to adjust tones for greater harmony and accuracy in representing light (Source 2, Source 3).
common pitfalls
- →Applying glazes before the underpainting is completely dry, which can lead to muddiness and cracking (Source 1).
- →Ignoring the effects of simultaneous contrast, resulting in colors that appear inaccurate or disharmonious (Source 2).
- →Overworking the paint, losing the freshness and luminosity achieved through glazing and scumbling (Source 1).
- →Using too much medium, which can slow drying time and weaken the paint film (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 details of the subject’s appearance, clothing, and background in Young Routy are not provided in the sources.
- ·The exact palette and pigments used by Lautrec for this specific painting are not documented in the provided passages.
- ·The specific compositional layout and lighting conditions of the portrait are not described.
- ·Lautrec’s personal variations on the glazing and scumbling techniques described in general historical texts are not detailed.
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, glazing, and scumbling techniques.
Laws of Contrast of Colour↗
- 315-318 — applied to Understanding simultaneous contrast and color harmony.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Henri de Toulouse-Lautrec↗
- part 1 and part 2 — applied to Artist’s background, training, and stylistic influences.
Wikipedia: Oil painting↗
- part 4 — applied to General information on oil paints and mediums.
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
related guides
