plate no. 5163
An Italian Garden
William Merritt Chase, 1909
recreation guide
William Merritt Chase’s *An Italian Garden* (1909) represents the culmination of his mature Impressionist landscape practice, characterized by a 'noble sense of color' and a fluent, loosely brushed style (Source 7). Chase was a prominent exponent of American Impressionism who adopted the *plein air* method, often teaching students to paint outdoors to capture the immediate effects of light and atmosphere (Source 5). His landscape work, which gained recognition in the late 1880s, was influenced by French Impressionism and focused on capturing the transient qualities of nature rather than topographical precision (Source 7). The painting likely exhibits the broad masses and confident brushwork for which Chase was known, avoiding the 'smallness' or over-modeling he advised against in his teaching (Source 4).
estimated time
20-30 hours over 5-7 sessions (allowing for drying time between glazes/scumbles if employed)
materials
4 items
steps
4 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, plus Red and Yellow earths/ochres) | Primary pigments for underpainting and final color application | — |
| Oil of Copavia (or modern stand oil/linseed oil) | Medium for the first and second paintings to ensure fluidity and transparency | Stand oil or refined linseed oil |
| Canvas or prepared panel | Support for the oil painting | — |
| Varnish (optional, for later glazing stages) | To mix with oil for advanced glazing techniques once mastery is gained | Dammar varnish or modern painting medium |
preparation
surface prep
While specific preparation for *An Italian Garden* is not detailed, Chase’s training in Munich and his adherence to traditional craftsmanship suggest a standard oil ground. The sources emphasize the importance of the artist being a 'sound craftsman' with knowledge of their medium (Source 4). A neutral or warm-toned ground is likely appropriate to facilitate the glazing and scumbling techniques described in traditional oil painting practice (Source 3).
underdrawing
Chase’s 'loosely brushed style' (Source 7) suggests that underdrawing was likely minimal or executed directly in paint, consistent with Impressionist *plein air* practices. There is no evidence of detailed preparatory sketches for this specific work; the focus was on capturing the 'broad masses' (Source 4).
underpainting
The sources describe a traditional method involving a grisaille (monochrome underpainting) using black, ultramarine, and white, applied with oil of copavia (Source 3). This initial layer establishes the tonal values before color is introduced. Chase’s emphasis on 'broad masses' (Source 4) supports an underpainting that defines the major light and shadow structures without fine detail.
color palette
Ultramarine
Pure pigment
Underpainting and sky/shadow tones, as part of the initial monochrome layer (Source 3)
White
Pure pigment
Underpainting highlights and mixing for glazes/scumbles (Source 3)
Black
Pure pigment
Underpainting shadows and depth (Source 3)
Red and Yellow tones
Various reds and yellows (ochres, vermilion, etc.)
Glazing and scumbling over the dry grisaille to introduce local color and warmth, mimicking the 'tinting of an engraving' (Source 3)
composition
Chase’s landscapes are characterized by a coherent composition where elements are arranged to create a wide view, often including the sky as a significant element (Source 1). While specific compositional details of *An Italian Garden* are not described in the sources, Chase’s general practice involved capturing 'natural scenery' with an emphasis on light and atmosphere rather than strict topographical accuracy (Source 1, Source 7). The composition likely avoids 'smallness' and over-modeling, favoring broad, confident strokes (Source 4).
step by step
underpainting→first pass→refining→finishing
underpainting
step 01
Apply a monochrome underpainting (grisaille) using black, ultramarine, and white mixed with oil of copavia. Focus on establishing the broad masses of light and shadow, avoiding fine detail.
Tip — Ensure the underpainting is quite dry before proceeding to color layers.
Grisaille underpainting
first pass
step 02
Begin introducing color through glazing and scumbling. Apply transparent coats of red and yellow tones over the dry grisaille, similar to tinting an engraving with watercolors.
Tip — Glazing involves transparent color; scumbling involves semi-opaque color that allows the underlying painting to show through.
Glazing and Scumbling
refining
step 03
Refine the color and light effects, ensuring that the 'broad masses' are maintained. Avoid getting 'tied down to outline' or over-modeling, which Chase advised against.
Tip — Check for 'smallness' in the brushwork; keep strokes confident and broad.
Loose brushwork
finishing
step 04
Complete the painting by adjusting the balance of light and color, ensuring the 'noble sense of color' characteristic of Chase’s work is achieved.
Tip — The final effect should capture the transient light and atmosphere of the garden.
Impressionist finish
critical techniques
Glazing and Scumbling
Used to introduce color over a dry monochrome underpainting. Glazing applies transparent color, while scumbling applies semi-opaque color, allowing the underpainting to influence the final tone. This method was practiced by old masters and is recommended for achieving depth and luminosity.
Plein Air Painting
Chase adopted the *plein air* method, painting outdoors to capture the immediate effects of light and atmosphere. This approach is central to his Impressionist landscape style.
Broad Masses
Chase emphasized painting 'broad masses' rather than getting lost in small details. This technique helps avoid 'smallness' and over-modeling, resulting in a more dynamic and cohesive composition.
common pitfalls
- →Over-modeling or getting 'tied down to outline,' which leads to a stiff and lifeless appearance (Source 4).
- →Painting 'smallness' or excessive detail, which contradicts Chase’s emphasis on broad, confident brushwork (Source 4).
- →Applying color before the underpainting is completely dry, which can muddy the glazes and scumbles (Source 3).
- →Ignoring the 'noble sense of color' by using dull or muddy mixes; Chase’s work is noted for its vibrant and subtle color rendering (Source 7).
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 *An Italian Garden* (e.g., exact plant species, architectural elements, lighting conditions) are not described in the sources.
- ·The exact palette of pigments used for this specific 1909 work is not documented; the guide relies on general Impressionist and traditional oil painting practices.
- ·Chase’s specific brushstroke patterns for this particular painting are not detailed, though his general 'loosely brushed style' is noted.
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 Underpainting and glazing/scumbling techniques
- ON COPYING — applied to Advice on avoiding smallness and over-modeling
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — William Merritt Chase↗
- part 5 — applied to Plein air method and teaching practices
- part 7 — applied to Style, color sense, and landscape focus
Wikipedia: Landscape painting↗
- part 1 — applied to General landscape composition principles
Read more about the corpus on the sources page and how the guides are built on the methods page.
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