plate no. 0612
An Italian Landscape with Mountains and a River
Joseph Wright, 1790
recreation guide
Joseph Wright of Derby’s *An Italian Landscape with Mountains and a River* (1790) represents the artist’s engagement with the Romantic tradition, which emphasized wilder landscapes, atmospheric effects, and the spiritual element of nature (Source 3). Wright, known for his mastery of tenebrism and chiaroscuro in interior scenes, applied these dramatic lighting contrasts to his landscapes, likely using the medium’s capacity for rich, dense color and layering to achieve depth (Source 4, Source 5). The work reflects the 18th-century shift toward viewing landscape not merely as topographical record but as an expression of feeling, where the artist uses painted symbols to convey emotional ideas inspired by nature (Source 2, Source 7). Wright’s Italian sojourn (1773–1775) exposed him to the dramatic volcanic landscapes of Naples, influencing his approach to mountainous terrain and atmospheric perspective, even if he did not witness major eruptions firsthand (Source 8).
estimated time
40-60 hours over 8-12 sessions
materials
8 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil-primed canvas | Support for oil painting, consistent with 18th-century practice | Pre-primed linen or cotton canvas |
| Linseed oil | Primary binder for pigments, providing flexibility and rich color | Refined linseed oil |
| Turpentine | Thinner for initial layers and cleaning brushes | Odorless mineral spirits or pure gum turpentine |
| Oil of Copavia (or Dammar resin) | Medium for glazing and varnishing, as noted in Reynolds’ method cited in sources | Dammar varnish or stand oil |
| Ultramarine | Key blue pigment for skies and distant mountains, part of Reynolds’ cited palette | Synthetic ultramarine |
| White lead (or Titanium White) | For highlights and mixing tints; historically standard | Titanium white (non-toxic alternative) |
| Black pigment (Ivory Black or Lamp Black) | For shadows and underpainting, part of Reynolds’ cited palette | Ivory black |
| Red and Yellow earth pigments (Ochre, Sienna, Vermilion) | For glazing and scumbling to introduce warm tones, as described in the glazing process | Yellow ochre, burnt sienna, cadmium red |
preparation
surface prep
The canvas should be prepared with a traditional oil ground, likely using a mixture of lead white and linseed oil, consistent with 18th-century practices. While the sources do not specify Wright’s exact ground, they note that oil painting allows for layers and a wide range from light to dark (Source 5). The surface should be smooth to facilitate the glazing techniques described in Source 1.
underdrawing
Wright’s preparatory methods are not explicitly detailed in the provided sources. However, given his training under Thomas Hudson and influence by Alexander Cozens (Source 8), he likely employed a careful compositional underdrawing. For this recreation, use a thin wash of raw umber or charcoal to sketch the major forms of the mountains, river, and sky, ensuring the composition aligns with Romantic ideals of wilder landscapes (Source 3).
underpainting
Employ a grisaille (monochrome underpainting) using black, ultramarine, and white, as described in Sir Joshua Reynolds’ method cited in Source 1. This step involves mentally extracting red and yellow colors to establish the tonal structure. The grisaille should be allowed to dry completely before proceeding to glazing (Source 1). This technique helps in managing the contrast of light and dark, a hallmark of Wright’s tenebrism (Source 4).
color palette
Ultramarine Blue
Pure ultramarine
Distant mountains and sky, creating atmospheric depth
White Lead
Pure white
Highlights on clouds and water reflections
Ivory Black
Pure black
Deep shadows in the foreground and mountain crevices
Yellow Ochre
Yellow ochre thinned with oil
Glazing to introduce warm earth tones in the landscape
Red Ochre/Vermilion
Red earth pigments thinned with oil
Scumbling and glazing to add warmth and vitality to the scene
Green Earth
Verdigris or mixed greens
Vegetation and distant foliage, if applicable
composition
While specific compositional details of this painting are not described in the sources, Wright’s landscapes likely feature a wide view with elements arranged into a coherent composition, including sky and weather as key elements (Source 7). The Romantic style suggests a focus on wilder landscapes and storms, possibly with small figures to emphasize the scale and transitoriness of human life (Source 3). The composition should balance the dramatic contrast of light and dark, characteristic of Wright’s tenebrism (Source 4).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the composition lightly with charcoal or a thin wash, focusing on the placement of mountains, river, and sky.
Tip — Ensure the sky is included, as it is almost always part of landscape views (Source 7).
Compositional sketching
underpainting
step 02
Apply a grisaille using black, ultramarine, and white to establish the tonal values. Extract red and yellow colors mentally to focus on form and light.
Tip — Allow the grisaille to dry completely before glazing (Source 1).
Grisaille
first pass
step 03
Begin glazing with transparent coats of color, starting with yellow and red tones. Use oil as a medium initially.
Tip — Glazing is a transparent coat of color that allows the underlying painting to show through (Source 1).
Glazing
refining
step 04
Scumble semi-opaque paint over darker grounds to create coldness or grey blooms, enhancing atmospheric effects.
Tip — Scumbling tends to coldness when employed over a darker ground (Source 1).
Scumbling
finishing
step 05
Refine details and adjust contrasts, ensuring the painting expresses feeling rather than mere deception (Source 2).
Tip — Remember that art is an expression of feeling, not a substitute for nature (Source 2).
Final adjustments
varnishing
step 06
Apply a varnish mixed with oil, such as oil of copavia, to protect the painting and enhance depth.
Tip — Use varnish and oil mixed for the final layers, as per Reynolds’ method (Source 1).
Varnishing
critical techniques
Glazing
Applying transparent coats of color to build up depth and luminosity, as described in Source 1.
Scumbling
Using semi-opaque paint to create atmospheric effects and coldness, particularly over darker grounds (Source 1).
Tenebrism
Emphasizing the contrast of light and dark to create dramatic effects, a hallmark of Wright’s style (Source 4).
Grisaille
Creating a monochrome underpainting to establish tonal structure before adding color (Source 1).
common pitfalls
- →Attempting to deceive the eye with mere naturalism rather than expressing feeling through the medium (Source 2).
- →Applying glazes before the underpainting is completely dry, which can lead to muddiness (Source 1).
- →Ignoring the limitations and vitality of the oil medium, leading to misdirected effort (Source 2).
- →Overusing scumbling, which can create unwanted coldness if not balanced with warm glazes (Source 1).
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 color palette used by Wright for this particular painting is not detailed in the sources.
- ·Exact compositional layout of *An Italian Landscape with Mountains and a River* is not described in the provided passages.
- ·Wright’s specific brushwork techniques for landscapes are not explicitly covered, though his general practice is inferred.
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, glazing, and scumbling techniques
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of using oil paint as an expressive medium
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Romanticism↗
- Romanticism — part 22 — applied to Context of landscape painting and Romantic ideals
Wikipedia bio — Joseph Wright↗
- Joseph Wright — part 1 — applied to Wright’s use of tenebrism and chiaroscuro
- Joseph Wright — part 2 — applied to Biographical context and Italian sojourn
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to General oil painting techniques and materials
Read more about the corpus on the sources page and how the guides are built on the methods page.
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