An Eruption of Mount Vesuvius, with the Procession of St. Januariu'-s Head

surface prep

Prepare a canvas with a traditional oil ground. Wright’s era favored a white or light-toned ground to facilitate the layering of transparent glazes. The surface should be smooth enough to allow for fine glazing but textured enough to hold the impasto of highlights if desired. Ensure the ground is fully dry and sealed to prevent oil starvation.

underdrawing

While specific preparatory drawings for this exact work are not detailed in the sources, Wright’s practice involved careful compositional planning. Use a thin wash of umber or charcoal to sketch the major forms: the mountain, the sea, the procession, and the figures. Keep lines loose, as they will be covered by the underpainting. Focus on the placement of light sources (the eruption and moonlight) to guide the chiaroscuro.

underpainting

Create a grisaille (monochrome underpainting) using black, ultramarine, and white mixed with oil of copavia (Source 1). This stage establishes the value structure of the painting. Mentally extract the red and yellow colors, focusing on the forms and light/shadow relationships as if these colors were not present (Source 1). This allows for a solid foundation of tone before introducing color complexity.

Glazing

Applying transparent coats of color over a dry underpainting to build depth and luminosity. Wright’s era favored this method for achieving rich, dense colors (Source 1).

Scumbling

Using semi-opaque paint to modify underlying tones, particularly for adding texture and warmth to the fiery elements. It can create a 'grey bloom' if used over dark grounds (Source 1).

Chiaroscuro

Strong contrast between light and dark to create dramatic effect, a hallmark of Wright’s style, especially in his moonlit and candlelit scenes (Source 4).