plate no. 0767
Borthwick Castle
J.M.W. Turner, 1818
recreation guide
Borthwick Castle (1818) by J.M.W. Turner represents a pivotal moment in the artist's career, situated within the Romantic landscape tradition that emphasized wilder landscapes, atmospheric effects, and the sublime power of nature (Source 2). By 1818, Turner was actively developing his distinctive style, which involved using watercolour techniques with oil paints to create lightness, fluency, and ephemeral atmospheric effects (Source 5). This period coincides with his work on the Liber Studiorum, where he categorized landscape genres, including Architectural views, suggesting a structured approach to depicting specific sites like Borthwick Castle while maintaining artistic license (Source 5). The artwork likely exhibits the 'solemn grandeur' and mood-conveying potential that Turner learned from John Robert Cozens, moving beyond mere topographical information to evoke emotion (Source 3).
estimated time
40-60 hours over 8-12 sessions
materials
4 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Carmine, Yellow Ochre/Red Ochre) | Turner experimented with a wide variety of pigments, including unstable ones like carmine, prioritizing fresh appearance over longevity (Source 3). Ultramarine, white, and black were foundational in his early methods (Source 1). | Modern ultramarine blue, titanium white, ivory black, alizarin crimson (as a substitute for fugitive carmine), and natural earth tones. |
| Oil of Copavia (or modern linseed/stand oil) | Sir Joshua Reynolds, whose methods influenced the era, used oil of copavia as a medium for the first and second paintings (Source 1). Turner’s practice involved transparent oils (Source 5). | Stand oil or refined linseed oil for glazing. |
| Canvas or Panel | Standard support for oil painting of this period. | Linen canvas primed with oil ground. |
| Varnish | Used in glazing and scumbling techniques to gain mastery over transparent and semi-opaque layers (Source 1). | Dammar varnish or synthetic resin varnish. |
preparation
surface prep
The surface should be prepared with a neutral or slightly toned ground to facilitate the glazing and scumbling techniques characteristic of the period. While specific preparation for Borthwick Castle is not detailed, the general practice of the time involved creating a solid base for the 'first and second paintings' with oil mediums (Source 1).
underdrawing
Turner was disciplined in watercolour study and drawing, copying major topographical draughtsmen to perfect his skills (Source 3). However, in his oil paintings, he often moved away from rigid outlines, favoring fluency. The underdrawing should be loose, focusing on the 'broad masses' rather than fine detail, consistent with his tendency to avoid being 'tied down to outline' (Source 8).
underpainting
A grisaille (monochrome underpainting) is recommended. The source text advises mentally extracting red and yellow colours to translate what would be left in nature, creating a foundation for subsequent glazing (Source 1). This aligns with Reynolds' method of using black, ultramarine, and white for the initial stages (Source 1).
color palette
Ultramarine
Pure ultramarine pigment
Foundational blue tones in the grisaille and sky, consistent with Reynolds' method (Source 1).
White
Lead white or modern titanium white
Highlights and mixing with ultramarine/black in the underpainting (Source 1).
Black
Ivory black or lamp black
Shadows and structural definition in the grisaille (Source 1).
Carmine/Red
Carmine lake or alizarin crimson
Turner used carmine despite its instability, likely for atmospheric warmth and flesh tones if figures are present (Source 3).
Yellow/Red Tones
Yellow ochre, red ochre, or vermilion
Glazed over the grisaille to introduce warmth and light, mimicking the 'yellow and red tones as they occur' in nature (Source 1).
composition
As an Architectural view within the Romantic tradition, the composition likely balances the specific topography of Borthwick Castle with atmospheric effects. Turner’s work often included small figures to elevate the landscape to the status of history painting, similar to Claude Lorrain (Source 2). The composition should emphasize the 'solemn grandeur' and mood rather than strict topographical accuracy (Source 3).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the basic forms of the castle and landscape loosely, avoiding rigid outlines. Focus on the broad masses and atmospheric perspective.
Tip — Do not get tied down to the outline; aim for fluency (Source 8).
Loose underdrawing
underpainting
step 02
Create a grisaille using black, ultramarine, and white mixed with oil of copavia (or stand oil). Mentally extract red and yellow tones to establish the value structure.
Tip — Ensure the grisaille is quite dry before proceeding (Source 1).
Grisaille
first pass
step 03
Begin glazing and scumbling with oil. Apply transparent coats of yellow and red tones over the grisaille, similar to tinting an engraving with watercolours.
Tip — Glazing is a transparent coat of colour; use it to build up luminosity (Source 1).
Glazing
refining
step 04
Use scumbling (semi-opaque painting) to introduce coldness or grey blooms where needed, allowing the underlying painting to show through.
Tip — Scumbling over a darker ground tends to coldness, useful for atmospheric effects (Source 1).
Scumbling
finishing
step 05
Refine the atmospheric effects, ensuring the lightness and fluency characteristic of Turner’s style. Use varnish and oil mixed for final glazes if necessary.
Tip — Turner used oils ever more transparently to evoke light (Source 5).
Varnish glazing
critical techniques
Glazing and Scumbling
Turner and his contemporaries used glazing (transparent coats) and scumbling (semi-opaque layers) to build color and atmosphere. This method was practiced by old masters and is essential for achieving the luminous quality in Turner’s work (Source 1).
Watercolour Technique in Oils
Turner applied watercolour techniques to oil paints, creating lightness, fluency, and ephemeral atmospheric effects. This is a hallmark of his distinctive style (Source 5).
Use of Unstable Pigments
Turner used pigments like carmine despite their lack of durability, prioritizing the immediate visual impact and color quality (Source 3).
common pitfalls
- →Over-modeling or being too tied down to outlines, which contradicts Turner’s fluent style (Source 8).
- →Using opaque mixing instead of glazing and scumbling, which fails to capture the luminous atmospheric effects (Source 1).
- →Neglecting the drying time of the grisaille, which can lead to muddiness when glazing (Source 1).
- →Focusing too much on topographical accuracy rather than mood and atmospheric grandeur (Source 3).
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 choices for Borthwick Castle are not detailed in the sources; the palette is inferred from Turner’s general practice.
- ·The exact composition and figure placement in Borthwick Castle are not described in the provided texts.
- ·Turner’s specific brushwork techniques for this particular painting are not detailed.
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.
- ON COPYING — applied to Advice on avoiding over-modeling and rigid outlines.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — J.M.W. Turner↗
- part 8 — applied to Materials, pigment choices, and influence of Cozens.
- part 7 — applied to Style development, watercolour technique in oils, and Liber Studiorum context.
Wikipedia: Romanticism↗
- part 22 — applied to Romantic landscape principles and Turner’s role in the movement.
Read more about the corpus on the sources page and how the guides are built on the methods page.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
in this vein
related artworks
Romantic Landscape
Karl Lessing
Self-portrait with his brother Francesco
Giuseppe Tominz
Oenone Refuse de Secourir Pâris au Siège de Troie
Léon Cogniet
Duke of Alba
Francisco Goya
Blick Aus Dem Wald Ins Tal
Andreas Achenbach
Young Girl Fixing Her Hair
Sophie Gengembre Anderson
The Plough Inn
William Shayer
Hudson River Landscape
Johann Hermann Carmiencke