plate no. 7869

An Eruption of Vesuvius, seen from Portici

oil, canvasRomanticismlandscapevolcanoeruptionlandscapenightcloudsmountains

recreation guide

Joseph Wright of Derby’s *An Eruption of Vesuvius, seen from Portici* (1776) is a quintessential example of his mastery of chiaroscuro, a technique for which he is widely noted in art-historical record (Source 3). The painting exemplifies the Romantic landscape genre, where the primary subject is a wide view of natural scenery, often emphasizing dramatic weather and light effects (Source 6). Wright’s approach likely involves the deliberate juxtaposition of high and low tones to produce a 'true gradation of light,' where the highest tones are enfeebled and the lowest heightened at the line of juxtaposition (Source 1). This creates a spontaneous contrast that harmonizes the inherent colors of the volcanic landscape with the chosen atmospheric effects.

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (pigments)	Primary medium for creating rich, dense color and flexible layers	Standard tube oil paints
Drying oil (Linseed or Poppy seed)	Binder for pigments; provides flexibility and sheen	Stand oil or refined linseed oil
Turpentine	Thinner for initial layers and cleaning	Odorless mineral spirits or pure gum turpentine
Canvas	Support for the oil painting	Linen or cotton canvas, primed
Varnish (optional, for glazing)	To mix with oil for transparent glazes, enhancing depth	Dammar varnish or resin-based glazing medium

preparation

surface prep

The canvas should be prepared with a ground suitable for oil painting. While Wright’s specific ground recipe is not detailed in the sources, the general practice of the period involved preparing a surface that allows for the 'greater flexibility, richer and denser color' advantages of oil (Source 4). A neutral or warm-toned ground may be beneficial to facilitate the subsequent glazing and scumbling techniques.

underdrawing

Sources do not explicitly describe Wright’s underdrawing method for this specific work. However, given the emphasis on 'great effects' and spontaneous contrast (Source 1), the underdrawing likely served to establish the broad masses of light and shadow rather than fine linear detail. It is consistent with the artist’s general practice to focus on the arrangement of light sources and their impact on the scene.

underpainting

A grisaille (monochrome underpainting) is highly recommended. The sources suggest that completing a preparation by 'mentally extracting the red and yellow colours' and translating what would be left in nature is a valid method (Source 5). This monochrome layer establishes the chiaroscuro structure, allowing the artist to focus on tone before introducing color. Wright’s noted use of chiaroscuro (Source 3) supports a strong tonal foundation.

color palette

Black

Ivory Black or Lamp Black

Establishing the darkest tones and shadows, consistent with the Greek painters' limited palette mentioned as a model for simple methods (Source 1)

White

Lead White or Titanium White

Highlights and the brightest parts of the eruption and sky, creating the highest tone bands (Source 1)

Red

Vermilion or Red Lake

The fiery glow of the eruption and reflected light on clouds; applied via glazing over the monochrome (Source 5)

Yellow

Yellow Ochre or Cadmium Yellow

The intense light of the volcano and atmospheric haze; applied via glazing (Source 5)

Blue

Ultramarine or Cobalt Blue

The sky and distant landscape shadows; used in the initial monochrome stage (Source 5)

composition

The composition is a landscape view, likely depicting a specific place (Portici) with the eruption as the dominant natural event (Source 6). Wright characteristically uses dramatic chiaroscuro to illuminate the scene, similar to his moonlit landscapes where light makes elements 'sparkle in contrast to the dusky landscape' (Source 3). The arrangement likely prioritizes the contrast between the bright eruption and the dark foreground, adhering to the principle that 'many small ones resulted from [great effects]' (Source 1).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the basic composition, focusing on the placement of the volcano, the town of Portici, and the sky. Emphasize the broad masses of light and shadow rather than fine details.
Tip — Ensure the light source (eruption) is clearly defined to guide the chiaroscuro.
Compositional sketching

underpainting

step 02
Create a grisaille using black, ultramarine, and white (or similar neutral tones). Establish the full range of tones from the darkest shadows to the brightest highlights.
Tip — Mentally extract red and yellow colors, focusing on the tonal structure as if these colors were not present (Source 5).
Grisaille

first pass

step 03
Once the grisaille is dry, begin glazing with transparent coats of red and yellow oil colors. Apply these tones where the light from the eruption would reflect.
Tip — Glazing is a transparent coat of color that allows the underlying painting to show through, creating depth (Source 5).
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to adjust tones and create atmospheric effects, such as the smoke and haze. Scumbling over darker grounds can create a 'grey bloom' or coldness (Source 5).
Tip — Be aware that scumbling tends to coldness when used over darker grounds (Source 5).
Scumbling

finishing

step 05
Refine the contrasts at the boundaries of light and shadow. Ensure that the highest tones are enfeebled and the lowest heightened at the line of juxtaposition to produce a true gradation of light (Source 1).
Tip — Pay attention to the simultaneous contrast of colors; adjacent colors will influence each other's appearance (Source 2).
Chiaroscuro/Contrast

critical techniques

Chiaroscuro

Wright is noted for his dramatic use of chiaroscuro, particularly in candlelit and moonlit scenes (Source 3). In this painting, it is used to contrast the bright eruption with the dark landscape, creating a 'true gradation of light' through juxtaposition (Source 1).

Glazing and Scumbling

These methods were practiced by old masters and are useful for achieving rich color effects. Glazing adds transparent color, while scumbling adds semi-opaque layers, allowing for subtle tonal adjustments (Source 5).

Simultaneous Contrast

Understanding that adjacent colors influence each other helps in harmonizing the composition. The painter must perceive the modifications of tone and color received from contiguous colors (Source 2).

common pitfalls

→Failing to allow the grisaille to dry completely before glazing, which can muddy the colors (Source 5).
→Ignoring the effects of simultaneous contrast, leading to inaccurate color perception and disharmony (Source 2).
→Overworking the details before establishing the great effects of light and shadow, which should produce many small effects spontaneously (Source 1).
→Using opaque colors exclusively, missing the depth and richness achievable through glazing (Source 5).

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 recipes used by Wright in 1776 are not detailed in the sources.
·The exact underdrawing technique (e.g., charcoal, chalk, ink) is not specified.
·The specific varnish or resin Wright used for glazing is not identified, though general practices are described.
·Detailed compositional elements (e.g., specific figures or buildings in Portici) are not described in the sources, so they must be inferred from general landscape conventions or external knowledge not provided here.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Chiaroscuro and contrast principles
- 315. As to the advantages the painter will find in it... — applied to Color perception and harmony
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Grisaille, glazing, and scumbling techniques

cross-referenced from

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

Wikipedia bio — Joseph Wright↗
- part 3 — applied to Artist's use of chiaroscuro and dramatic lighting
Wikipedia: Oil painting↗
- part 1 — applied to General oil painting advantages and materials
Wikipedia: Landscape painting↗
- part 1 — applied to Genre context and composition