plate no. 6489

A Sunny Afternoon, Shinnecock Hills

oil, panelImpressionismlandscapelandscapepathskycloudsfieldvegetation

recreation guide

William Merritt Chase’s 'A Sunny Afternoon, Shinnecock Hills' (1898) is a quintessential example of American Impressionism, characterized by its plein air execution and vibrant handling of light. Chase, who established the Shinnecock Hills Summer School of Art in 1891, frequently painted landscapes in this location, often featuring his family or students amidst the dunes (Source 2, Source 3). The work reflects his fluency in oil painting and his adoption of the loose, rapidly brushed style he developed during his training in Munich and later refined through his exposure to French Impressionism (Source 2, Source 4). The painting likely exhibits the 'noble sense of color' noted by contemporary critics, utilizing simultaneous contrast to capture the fleeting modifications of light on the coastal environment (Source 1, Source 2).

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Wood panel	Support surface, consistent with the artwork's medium description	Hardboard or MDF panel primed with gesso
Oil paints	Primary medium, allowing for rich color density and layering	High-quality tube oils (linseed or walnut oil base)
Linseed oil	Binder and medium to adjust consistency and drying time	Stand oil or refined linseed oil
Turpentine	Thinner for initial washes and brush cleaning	Odorless mineral spirits
Palette knife	Mixing colors and applying thick impasto strokes	Flexible steel palette knife
Assorted brushes	Applying paint in loose, rapid strokes characteristic of Chase's style	Hog bristle flats and filberts

preparation

surface prep

The original work is on panel (Source 2). Chase likely prepared the panel with a white or light-toned ground to facilitate the plein air technique, which requires rapid application and the ability to lift or adjust colors. A smooth, absorbent ground allows for the 'loosely brushed style' associated with his Munich training and later Impressionist works (Source 4).

underdrawing

Chase’s Impressionist style suggests minimal to no visible underdrawing. The 'plein air method' he taught and practiced emphasizes capturing light and color directly, often bypassing detailed preliminary sketches in favor of direct painting (Source 3). Any drawing would likely be done in thin oil wash or charcoal, quickly covered by the first layer of paint.

underpainting

An alla prima (wet-on-wet) approach is likely, given the Impressionist style and plein air context. However, Chase’s background in Munich involved figurative works with loose brushwork, suggesting he may have used a tonal underpainting to establish values before applying color (Source 4). For this landscape, a thin, neutral wash (e.g., raw umber or gray) to block in major light and shadow masses is appropriate.

color palette

Bright Yellows and Oranges

Cadmium Yellow, Yellow Ochre, Cadmium Orange

Capturing the 'sunny afternoon' light and sand dunes, consistent with Chase's 'noble sense of color' (Source 2)

Vibrant Greens and Blues

Viridian, Cobalt Blue, Ultramarine, Sap Green

Foliage and sky, utilizing complementary contrast with warm tones (Source 1, Source 7)

Warm Whites and Grays

Titanium White, Lead White (historical), mixed with complements

Highlights and atmospheric haze, avoiding pure black for shadows (Source 1)

Earth Tones

Raw Umber, Burnt Sienna

Underpainting and grounding the composition (Source 5)

composition

Chase’s Shinnecock landscapes often feature people prominently, sometimes his family or students, integrated into the natural setting (Source 2). While specific figures in this painting are not detailed in the sources, the composition likely balances the horizontal expanse of the dunes with vertical elements (trees or figures) to create depth. The artist’s habit of painting 'scenes of domestic tranquility' or leisure suggests a relaxed, informal arrangement of elements (Source 2).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Lightly sketch the major compositional elements (dunes, horizon, figures if present) using thin oil wash or charcoal. Keep lines loose and gestural.
Tip — Do not overwork the drawing; it will be covered by paint.
Plein air sketching

underpainting

step 02
Apply a thin, neutral-toned wash to establish the basic light and shadow patterns. Focus on value contrast rather than color.
Tip — Ensure the ground is dry enough to accept paint but still slightly absorbent for better adhesion.
Tonal underpainting

first pass

step 03
Block in large areas of color using broad, loose brushstrokes. Apply paint wet-on-wet, focusing on the overall impression of light and atmosphere.
Tip — Work from general to specific, avoiding details early on.
Alla prima

refining

step 04
Introduce complementary colors to enhance contrast and vibrancy. For example, place warm yellows next to cool blues to make each appear more intense (simultaneous contrast).
Tip — Observe how adjacent colors modify each other’s appearance (Source 1).
Simultaneous contrast

finishing

step 05
Add final highlights and details with thicker paint (impasto) using a palette knife or stiff brush. Ensure the brushwork remains visible and energetic.
Tip — Step back frequently to assess the overall harmony and balance of the composition.
Impasto

critical techniques

Simultaneous Contrast

Chase likely used this principle to enhance the vibrancy of his colors. By placing complementary colors (e.g., blue and orange) next to each other, he could create a stronger visual impact without mixing dull grays (Source 1, Source 7).

Plein Air Painting

Painting outdoors allowed Chase to capture the immediate effects of light and atmosphere. This method requires rapid decision-making and loose brushwork (Source 3).

Loose Brushwork

Influenced by his Munich training and French Impressionism, Chase used visible, energetic brushstrokes to convey movement and texture (Source 2, Source 4).

common pitfalls

→Over-mixing colors on the palette, which can lead to dull, muddy tones. Chase’s style relies on vibrant, distinct strokes (Source 2).
→Ignoring the effects of simultaneous contrast, resulting in flat or less dynamic color relationships (Source 1).
→Working too slowly, which can cause the paint to dry and prevent the wet-on-wet blending essential to the Impressionist style (Source 3).
→Focusing too much on detail, losing the overall impression of light and atmosphere (Source 2).

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 pigment analysis of the original painting is not available in the sources, so the exact color mixtures are inferred from general Impressionist practice.
·The exact composition of 'A Sunny Afternoon, Shinnecock Hills' (e.g., specific placement of figures or objects) is not detailed in the provided sources, so the guide focuses on general stylistic elements.
·Chase’s specific varnishing routine for this period is not described, though standard oil painting practices apply (Source 5).

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 theory and application of complementary colors

cross-referenced from

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

Wikipedia bio — William Merritt Chase↗
- Style and subject matter / Landscapes — applied to Artist’s style, subject matter, and plein air practice
- Teaching and Shinnecock Hills — applied to Context of the painting’s creation and method
Wikipedia: Oil painting↗
- Materials and Techniques — applied to Medium properties and material choices
Wikipedia: Complementary colors↗
- Color Theory — applied to Understanding color relationships