plate no. 0633
Alas! dear Falada, there thou hangest
recreation guide
Arthur Rackham’s 'Alas! dear Falada, there thou hangest' is a quintessential example of his work in the Art Nouveau style, characterized by intricate line work and a moody, atmospheric palette. While the specific visual details of this particular illustration are not described in the provided sources, Rackham’s general practice involves a strong emphasis on linear construction and rhythmic composition, where abstract lines underlie the emotional expression of the piece (Source 8). The artwork likely employs the 'fat over lean' principle of oil painting, ensuring that each subsequent layer contains more oil than the previous one to prevent cracking (Source 7). The color harmony would be derived from traditional RYB models, utilizing complementary or analogous colors to create visual tension and mood, consistent with the scientific codification of color harmony prevalent during the period (Source 5).
estimated time
20-30 hours over 5-7 sessions
materials
6 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, Black, White, Red, Yellow) | Primary pigments for grisaille and glazing | Artist-grade oil paints |
| Linseed oil | Medium for thinning paint and creating glazes | Refined linseed oil |
| Mineral spirits or turpentine | Solvent for cleaning brushes and thinning initial layers | Odorless mineral spirits |
| Canvas or panel | Support surface | Primed linen canvas or wood panel |
| Brushes and palette knife | Application and manipulation of paint | Hog bristle and sable brushes, metal palette knife |
| Varnish | Final protective layer and enhancing depth | Dammar or synthetic resin varnish |
preparation
surface prep
The surface should be prepared with a ground suitable for oil painting. While specific preparation for this piece is not detailed, traditional practice involves a stable ground that allows for the 'fat over lean' application of paint (Source 7). The artist should ensure the surface is not too absorbent to maintain the integrity of the glazing layers.
underdrawing
Rackham’s work is noted for its strong linear construction. The underdrawing likely involves careful sketching with charcoal or thinned paint to establish the rhythmic lines and composition, ensuring that the abstract lines underlying the emotional expression are correctly placed (Source 8). The drawing should respect the rectangular boundaries of the canvas, using vertical and horizontal lines to set up relationships within the composition (Source 8).
underpainting
A grisaille (monochrome underpainting) is likely employed, using black, ultramarine, and white to establish the tonal values before color is introduced. This method allows the artist to mentally extract red and yellow colors, translating what would be left in nature if these colors were not present (Source 1). This underpainting serves as the foundation for subsequent glazing and scumbling.
color palette
Ultramarine
Pure ultramarine pigment
General use in grisaille and cool tones
Black
Ivory black or lamp black
General use in grisaille and shadows
White
Titanium white or lead white
General use in grisaille and highlights
Red
Vermilion or cadmium red
Glazing to introduce warmth and contrast
Yellow
Yellow ochre or cadmium yellow
Glazing to introduce warmth and contrast
composition
The composition likely relies on the rhythmic power of lines, with vertical and horizontal elements setting up relationships within the rectangular frame (Source 8). Dark masses may be used in the corners to direct the viewer’s attention to the center of the picture, avoiding the dramatic combination of lines at the corners (Source 8). The arrangement of abstract lines underlies the emotional expression, carefully hidden by the natural appearance of the subject (Source 8).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the composition using charcoal or thinned paint, focusing on the rhythmic lines and abstract structure.
Tip — Ensure the lines direct the eye to the center and avoid drawing attention to the corners.
Linear construction
underpainting
step 02
Apply a grisaille using black, ultramarine, and white to establish tonal values.
Tip — Mentally extract red and yellow colors, focusing on the underlying structure.
Grisaille
first pass
step 03
Once the grisaille is dry, begin glazing with oil and red/yellow tones.
Tip — Apply transparent coats of color to build up depth and warmth.
Glazing
refining
step 04
Use scumbling to add semi-opaque layers, allowing the underlying painting to show through.
Tip — Be cautious of coldness when scumbling over darker grounds; aim for a grey bloom if desired.
Scumbling
finishing
step 05
Adjust colors based on simultaneous contrast, ensuring harmonious combinations.
Tip — Consider the complementary colors to enhance visual tension and mood.
Color harmony
varnishing
step 06
Apply a final varnish to protect the painting and enhance the depth of the glazes.
Tip — Ensure the painting is completely dry before varnishing.
Varnishing
critical techniques
Glazing
Applying transparent coats of color over a dry grisaille to build up depth and warmth, as practiced by old masters and described in the sources.
Scumbling
Using semi-opaque paint to allow the underlying layers to show through, creating texture and complexity.
Fat over Lean
Ensuring each subsequent layer of paint contains more oil than the previous one to prevent cracking.
Linear Construction
Focusing on the abstract lines and rhythmic power of the composition to convey emotional significance.
common pitfalls
- →Applying layers with less oil than the previous layer, leading to cracking and peeling (Source 7).
- →Ignoring the principles of simultaneous contrast, resulting in muddy or unharmonious colors (Source 2).
- →Overworking the glazes, losing the transparency and depth intended by the technique (Source 1).
- →Failing to establish a strong linear structure in the underdrawing, weakening the compositional impact (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 'Alas! dear Falada, there thou hangest' are not described in the sources, so the guide relies on Rackham’s general practice.
- ·The exact year of creation is not available, limiting precise contextual analysis.
- ·Specific pigment formulations used by Rackham are not detailed, so modern equivalents are suggested.
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 Grisaille, glazing, and scumbling techniques
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and simultaneous contrast
The Practice and Science of Drawing↗
- ILLUSTRATING SOME OF THE LINES ON WHICH THE RHYTHMIC POWER OF THIS PICTURE DEPENDS — applied to Linear construction and composition
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to Fat over lean principle and materials
Wikipedia: Harmony (color)↗
- Harmony (color) — part 1 — applied to Color harmony principles
Read more about the corpus on the sources page and how the guides are built on the methods page.
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