plate no. 1642

Cenotaph to the Memory of Sir Joshua Reynolds

oil, canvasRomanticismlandscapetreesforestdeermonumentlandscapesky

what to study here

It shows how edge sharpness and value alone can make a small monument dominate a dark wooded scene and push the distance back.

Start with the squint test. The vision analysis reads three values: dark tree masses on both sides, a light core of sky and monument, and a mid-dark ground plane. The avenue pulls the eye to the pale cenotaph, and the canopy blocks light so the sky corridor reads brightest. Study how edges carry the hierarchy. Foreground trunks have crisp, decisive edges where they cross light. Foliage is handled loosely, with dappled, gestural marks and no individual leaves. The monument is drawn with sharper edges than anything around it, which keeps a small shape legible at distance. In the far distance, foliage melts into shadow without line work, so recession comes from lighter values and softer edges. The stag in the lower left sets scale. The palette is warm earths, from near-black browns to a cream-gold sky. The recreation text describes the work as late Constable, with a more broken and accented style, and says it shows a monument at Coleorton Hall. Use it as context, not as observation of the canvas.

key decision

Constable kept the monument's edges sharper than the surrounding foliage and placed it in the lightest part of a dark frame, so it anchors the composition despite its small size.

From the record

Dimensions: 132 cm high × 108.5 cm wide
Institution: National Gallery
Location: National Gallery
Inception: 1836
Materials: oil paint, canvas

grave

Wikipedia article Wikidata item Q3664409

from the sources

The painting is an 1836 landscape by John Constable. en.wikipedia.org
“Cenotaph to the Memory of Sir Joshua Reynolds is an 1836 landscape painting by the English artist John Constable.”
The scene depicts the grounds of Coleorton Hall, a country estate in Leicestershire. en.wikipedia.org
“One of his later works, it depicts a scene in the grounds of the country estate Coleorton Hall in Leicestershire.”
The painting features a monument commemorating Sir Joshua Reynolds, the first President of the Royal Academy. en.wikipedia.org
“it features a monument commemorating the life of Sir Joshua Reynolds, the first President of the Royal Academy.”
The monument shown in the painting was erected in 1812. en.wikipedia.org
“The monument was erected in 1812.”
Constable visited the estate in 1823 and made pencil sketches, which he developed into a larger work over a decade later. en.wikipedia.org
“The artist visited the property in 1823, when he did pencil sketches before developing it into a grander work more than a decade later.”
The monument is shown among the estate's woodland, with a stag prominently featured. en.wikipedia.org
“Constable shows it amongst the woodland of the estate, with a stag prominently featured.”
The painting was shown at the Royal Academy Summer Exhibition at Somerset House in the year it was painted. en.wikipedia.org
“It was exhibited at the Royal Academy's Summer Exhibition at Somerset House the same year.”
The painting has been in the National Gallery collection since 1888, as part of the Constable Bequest. en.wikipedia.org
“Since 1888 it has been in the collection of the National Gallery having been part of the Constable Bequest.”

recreation guide

Cenotaph to the Memory of Sir Joshua Reynolds (1836) is one of John Constable’s later landscape works, depicting a monument in the grounds of Coleorton Hall, Leicestershire. The scene features a cenotaph commemorating Sir Joshua Reynolds, set amongst woodland with a prominently featured stag (Source 1). As a late work, it reflects Constable’s shift toward a more broken and accented style, moving away from the serenity of his earlier phase (Source 4). The painting exemplifies his belief that landscape painting is 'scientific as well as poetic,' emphasizing the accurate depiction of atmospheric conditions and light (Source 4).

estimated time

20-30 hours over 5-7 sessions, allowing for drying times between glazes and scumbles

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Yellow ochre/red earth, Green earth)	Primary pigments for underpainting and glazing	Artist-grade oil paints
Linseed oil	Medium for thinning paint and creating glazes	Refined linseed oil
Mineral spirits or turpentine	Solvent for cleaning brushes and thinning initial layers	Odorless mineral spirits
Canvas	Support for the painting	Linen or cotton canvas, primed
Charcoal or thinned paint	Initial sketching on the canvas	Vine charcoal or raw umber thinned with solvent
Palette knives and rags	Application and removal of paint layers	Standard palette knives and lint-free rags

preparation

surface prep

The canvas should be prepared with a traditional ground. While specific priming details for this exact work are not detailed in the sources, Constable’s practice involved working on prepared canvases suitable for oil application. The surface should be smooth enough to allow for fine brushwork but textured enough to hold the broken brushstrokes characteristic of his later style (Source 3).

underdrawing

Begin by sketching the composition onto the canvas using charcoal or thinned paint. Constable often made pencil sketches from life before developing grander works, so a careful initial drawing is crucial to capture the specific layout of the monument, woodland, and stag (Source 1). The sketch should establish the 'key note' of the sky and the placement of the monument (Source 5).

underpainting

Apply a monochrome underpainting (grisaille) using black, ultramarine, and white mixed with oil of copavia or linseed oil. This layer establishes the tonal values without color, allowing the artist to focus on light and shadow. This technique is supported by Sir Joshua Reynolds’ method, which Constable would have been familiar with, and is described as a foundational step in traditional oil painting (Source 2). Ensure this layer is completely dry before proceeding.

color palette

Ultramarine

Pure ultramarine

Sky and cool shadows, consistent with Constable’s focus on atmospheric effects

White

Lead white or titanium white

Highlights and mixing with ultramarine for sky tones

Black

Ivory black or lamp black

Dark shadows and defining the monument and tree trunks

Yellow/Red tones

Yellow ochre, red earth, or vermilion

Glazing and scumbling to introduce warmth and color, particularly in the foliage and stag

Green earth

Verdigris or mixed greens

Woodland foliage, applied with broken brushstrokes

composition

The composition centers on the monument to Sir Joshua Reynolds, situated within the woodland of Coleorton Hall. A stag is prominently featured in the scene, adding a naturalistic element to the memorial landscape (Source 1). The sky plays a critical role, serving as the 'key note, the standard of scale, and the chief organ of sentiment' (Source 5). The arrangement should reflect a coherent composition with the monument as the focal point, surrounded by the natural elements of the estate (Source 6).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the monument, woodland, and stag onto the canvas using charcoal or thinned paint.
Tip — Ensure the proportions of the monument and the placement of the stag are accurate, as Constable worked from detailed sketches (Source 1).
Initial sketching

underpainting

step 02
Apply a grisaille layer using black, ultramarine, and white mixed with oil. Establish the tonal values of the scene.
Tip — Allow this layer to dry completely. This step extracts red and yellow colors, focusing on form and light (Source 2).
Grisaille underpainting

first pass

step 03
Begin applying color with glazes and scumbles. Use transparent coats of color for glazing and semi-opaque layers for scumbling.
Tip — Follow the 'fat over lean' rule, ensuring each layer has more oil than the previous one to prevent cracking (Source 3).
Glazing and scumbling

refining

step 04
Use broken brushstrokes to capture the effects of light and movement in the foliage and sky. Scumble lighter passages to create sparkling light.
Tip — Constable used small touches to convey immediacy and atmospheric effects, particularly in the sky (Source 5).
Broken brushwork

finishing

step 05
Refine the details of the monument and the stag, ensuring they stand out against the woodland background.
Tip — Maintain the balance between the scientific accuracy of the landscape and the poetic sentiment of the scene (Source 4).
Detailing

varnishing

step 06
Apply a final varnish to protect the painting and enhance the depth of the glazes.
Tip — Ensure the painting is completely dry before varnishing to avoid trapping solvents.
Varnishing

critical techniques

Glazing and Scumbling

Glazing involves applying a transparent coat of color, while scumbling uses semi-opaque paint to allow the underlying layer to show through. This method was practiced by old masters and is essential for achieving the luminous quality in Constable’s work (Source 2).

Broken Brushwork

Constable used small, broken brushstrokes to capture the effects of light and movement, particularly in the sky and foliage. This technique creates an impression of sparkling light enveloping the landscape (Source 5).

Fat over Lean

Each additional layer of paint should contain more oil than the layer below to ensure proper drying and prevent cracking. This is a basic rule of oil paint application (Source 3).

common pitfalls

→Applying layers with less oil than the previous layer, which can lead to cracking and peeling (Source 3).
→Over-modeling or being too tied down to outlines, which can result in a smallness that detracts from the expressive quality of the landscape (Source 8).
→Ignoring the scientific aspect of landscape painting, such as the accurate depiction of weather and light, which Constable considered essential (Source 4).
→Attempting to deceive the eye with mere illusion rather than expressing the feeling and vitality of the medium (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 pigment recipes used by Constable for this particular painting are not detailed in the sources.
·The exact dimensions of the canvas are not provided, though it is described as a 'grander work' (Source 1).
·Detailed information on the specific varnish or medium Constable used for the final layers is not available in the provided sources.

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 Glazing and scumbling techniques, grisaille underpainting
- ON COPYING — applied to Avoiding over-modeling and smallness
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Importance of medium and avoiding mere illusion

cross-referenced from

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

Wikipedia: Cenotaph to the Memory of Sir Joshua Reynolds↗
- part 1 — applied to Composition details, monument, stag, and context
Wikipedia: Oil painting↗
- part 2 — applied to Fat over lean rule, materials, and drying times
Wikipedia bio — John Constable↗
- part 7 — applied to Constable’s later style, scientific approach to landscape
- part 9 — applied to Broken brushwork, sky studies, and atmospheric effects
Wikipedia: Landscape painting↗
- part 1 — applied to General landscape composition and topographical views

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

A tree-lined avenue recedes into the middle distance, where a pale stone monument stands as the compositional anchor, framed by tall trees on both sides. Light enters from above and penetrates the canopy in the center background, creating a luminous path between dark forest masses on the left and right. A stag grazes in the lower left foreground, establishing scale and narrative. The sky visible above the monument reads as pale cream-gold, while the tree canopy overhead blocks light, creating a dramatic value contrast that draws the eye along the avenue toward the cenotaph.

value structure

The darkest values are the tree trunks and dense foliage masses flanking the composition—nearly black in the deepest recesses. The lightest lights are the sky area and the pale monument itself, sitting distinctly above the middle value range. The ground plane occupies a mid-dark value, with warm browns and shadows. Squinting reveals a clear three-value structure: dark frame (trees), light core (sky corridor and monument), and mid-ground transition (foliage and ground). This creates powerful atmospheric recession—distant values lighten, edges soften.

observed palette and mixes

#2a211a
Ivory black + burnt umber + touch of raw sienna
Deepest tree trunk shadows and canopy recesses
#392b1e
Burnt umber + ivory black + raw sienna
Mid-value tree trunks and dark foliage shadows
#5b4b2f
Raw sienna + burnt umber + touch of titanium white
Illuminated tree bark faces and mid-tone foliage
#837656
Raw sienna + titanium white + touch of burnt umber
Lit foliage, stone monument, and mid-ground highlights
#d4c5a9
Titanium white + raw sienna + touch of yellow ochre
Sky luminosity and pale stone monument surfaces

edges and brushwork

Tree trunks in the foreground have crisp, decisive edges where they read against light—dark lines painted with confidence. Foliage masses are handled loosely and softly; the brushwork is dappled and gestural, suggesting texture without rendering individual leaves. The monument is painted more precisely and holds sharper edges than the surrounding landscape, anchoring the composition. In the atmospheric distance, edges blur considerably; foliage melts into shadow without line work.

a working sequence

01
Underpaint the architectural light scheme
Thin burnt umber to a transparent wash and establish the entire composition with pale washes for the sky corridor and monument area, medium tones for the ground plane, and leave the darkest areas reserved for the tree masses. Keep it loose and tonal—this is your road map for values. Pay special attention to the vertical line of the monument and the linear recession of trees on both sides.
02
Block in the tree corridor structure
Using burnt umber and ivory black, establish the large masses of dark foliage on the left and right sides. Work broadly, not worrying about individual trees yet—you're defining two large shadow masses that frame a light corridor in the center. Make the right side notably darker than the left to suggest deeper shadow and atmospheric depth.
03
Establish the pale sky passage
Using titanium white mixed with raw sienna and a tiny touch of burnt umber, paint the light sky area visible through the canopy at the top center. Keep this warm and slightly golden rather than pure white; the atmospheric haze gives it a soft, aged quality. Soften its edges into the surrounding foliage so it reads as light filtering through rather than a hole.
04
Paint the monument with precision
The stone cenotaph sits centered in the middle distance, rendered in pale, warm greys and creams. Mix titanium white with raw sienna and a touch of burnt umber to create a slightly warm, aged stone color. Paint it with more careful edges than the surrounding foliage—it's the human-made focal point. Add subtle shadows on the right side and a darker base where it meets the ground.
05
Develop individual tree trunks in the foreground
Now break up the dark foliage masses with individual tree trunks. Start with the large trees flanking the composition on left and right. Use ivory black plus burnt umber for the darkest shadow sides, and raw sienna plus burnt umber for illuminated sides facing the light corridor. Paint them as tall vertical forms with varied width—tapering toward canopy. The left trees should feel slightly more backlit than the right.
06
Render foliage texture and depth
Layer the foliage in the middle distance and background using dappled, loose brushwork. Mix raw sienna with touches of burnt umber and titanium white for the lit foliage; keep darker mixes of burnt umber and black for shadows. Don't attempt detail—suggest texture with varied mark-making. The trees receding toward the monument should get progressively lighter and softer-edged, creating atmospheric recession.
07
Paint the stag in the foreground left
The deer grazing on the left side is rendered in warm mid-brown tones—use raw sienna and burnt umber with a touch of titanium white. Keep it relatively simple in form but with enough definition to read as a living animal. The stag's dark legs anchor it to the ground plane while its warm body and antlers catch light. Position it about one-third from the left edge and well forward to establish scale.
08
Refine ground plane and atmospheric haze
The forest floor should read as shadowed, warm-brown earth with subtle texture—use burnt umber and black with touches of raw sienna in varied ways. Add softer, warmer tones closer to the monument where light penetrates. Apply an overall glaze of extremely dilute burnt umber + titanium white in the most distant areas to create atmospheric perspective. This unifies the depth and softens harsh edges in the background.
09
Strengthen contrast and final refinement
Step back and assess value relationships. Deepen the darkest tree shadows on the right side and in the canopy—the drama depends on this contrast. Ensure the sky passage reads distinctly lighter than everything else. Add bright catches of light on prominent left-side tree trunks if needed to create form. Add final delicate branches and twig work in the foreground silhouettes using a small round brush with dark paint.

where studies of this painting go wrong

Making the foliage too detailed or uniform—resist rendering individual leaves; suggestion through varied color and loose texture is more atmospheric and convincing at landscape scale.
Losing the monument in the middle distance—keep it slightly lighter and sharper-edged than surrounding foliage so it reads as the compositional anchor despite its small scale.
Failing to create atmospheric recession—the background must read lighter and softer than the foreground despite being covered in dark trees; this is achieved through value control and edge softness, not color change.
Overworking the transition between light and shadow—Constable suggests rather than defines; the tree corridor should feel like soft light diffusing through canopy, not a hard-edged opening.
Neglecting the warm, aged quality of the palette—these are ochres and siennas, not pure blacks and greys; cool tones will flatten the romantic mood and make it feel contemporary rather than timeless.

measured difficulty