The Intricacies of Claude Monet's Underpainting Technique in Impressionism

In the realm of 19th-century painting, Claude Monet's approach to underpainting was both unique and pivotal. This initial layer of paint served as the foundation for his masterpieces, enabling him to build depth and luminosity in his works. Understanding Monet's underpainting technique can offer valuable insights into his Impressionist style and the broader context of his artistic journey.

The Foundation of Underpainting

Underpainting is a common technique used by artists to establish the composition, tonal values, and color balance before adding more layers of paint. For artists like Monet, this initial layer is crucial, as it sets the stage for the final artwork. Monet often used a monochromatic color scheme or a simple palette to lay down the forms and basic values of the scene, creating a foundation that guides the subsequent layers of color and detail.

Monet's Underpainting Technique

Monet’s approach to color and light, particularly in his Impressionist style, relied heavily on the interplay of light and shadow, which was established during the underpainting phase. Instead of using black, as is common in other artistic traditions, Monet used Prussian blue to paint the subjects and shadows. This quick, loose brushwork allowed him to maintain the spontaneity and vibrancy characteristic of his later layers.

His technique involved using quick and simple brushstrokes across the entire canvas or subjects, covering them with primary colors and secondary colors. At the end of the underpainting phase, he used white mixed with certain basic colors to add highlights and define the subjects' light effects. This entire process was executed swiftly and precisely, often at plein air settings, reflecting the immediacy and spontaneity that defined Impressionism.

Direct Versus Underpainting

Monet's approach to underpainting was distinct from that of other Impressionists. Unlike many of his contemporaries who relied on underpainting, Monet painted directly onto the white, primed canvas. His love for spots of color, sometimes smaller and sometimes larger, reflected his direct and spontaneous approach. In his youth, he used small brushes for detailed works but later adopted large brushes loaded with plenty of paint for his monumental waterlily paintings.

A tip for aspiring artists: If you want to study artists' techniques, look at their paintings, especially their unfinished works. Ignore all teachers and books and learn from nature and the artists you love. Before embracing Impressionism, many artists followed their masters and did flat underpainting in grey tones, gradually building towards color. However, once they worked with artists from the Barbizon School, they embraced direct painting from nature, en plein air.

Conclusion

Understanding Monet's underpainting technique and his Impressionist style can provide a deeper appreciation of his work. By examining the foundational layers of his paintings, we can better comprehend how his underpainting serves as a crucial step in the painting process, setting the stage for the final artwork through careful planning and layering. Embracing direct painting, as Monet did, can offer new insights into the spontaneity and vibrancy characteristic of Impressionism.