plate no. 9713

Die alte Akademie in Düsseldorf

oilRomanticismcityscapebuildingsskycloudsfigurescityscapearchitecture

recreation guide

Andreas Achenbach’s 'Die alte Akademie in Düsseldorf' (1831) is a cityscape executed in oil, reflecting the artist’s early engagement with the Düsseldorf School of painting. As a founder of this school and a practitioner of Romanticism, Achenbach’s work from this period likely emphasizes atmospheric depth and the interplay of light and shadow, characteristic of the genre's shift toward secular subjects and detailed landscape representation (Source 7, Source 8). The painting serves as a topographical view, depicting a specific location with architectural prominence, a practice common in 19th-century German art where detailed landscapes were valued for their accuracy and narrative potential (Source 4).

estimated time

40-60 hours over 8-12 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (ultramarine, black, white, red, yellow earth tones)	Primary pigments for underpainting and glazing	Artist-grade oil paints
Linseed oil	Medium to thin paint and increase oil content for 'fat over lean' application	Refined linseed oil
Mineral spirits or turpentine	Solvent for thinning initial layers and cleaning brushes	Odorless mineral spirits
Canvas or panel	Support surface	Linen canvas primed with gesso
Charcoal or thinned paint	Initial sketching of the composition	Vine charcoal or diluted oil paint
Palette knives and rags	Application and removal of paint layers	Standard palette knives and lint-free cloths

preparation

surface prep

The surface should be prepared with a ground that allows for the traditional layering techniques of the period. While specific preparation for this 1831 work is not detailed in the sources, traditional oil painting practices of the time involved priming the canvas to ensure proper adhesion and drying of the oil layers (Source 3).

underdrawing

Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint (Source 3). Achenbach, trained at the Kunstakademie Düsseldorf, would have adhered to rigorous academic standards for preparatory drawings, likely using charcoal to establish the architectural lines and perspective of the cityscape.

underpainting

A grisaille (monochrome underpainting) is recommended, following the traditional method described in Source 2. This involves painting the composition in neutral tones (likely black, ultramarine, and white as per Reynolds’ method cited in Source 2) to establish values and forms before applying color. This technique allows the artist to focus on light and shadow without the distraction of color, a practice common among old masters and consistent with the academic training Achenbach received.

color palette

Ultramarine

Ultramarine pigment

Underpainting and sky tones, consistent with Reynolds’ method cited in Source 2

Black

Ivory black or lamp black

Shadows and underpainting, as per Source 2

White

Lead white or titanium white

Highlights and underpainting, as per Source 2

Red and Yellow tones

Red ochre, yellow ochre, vermilion

Glazing and scumbling to add warmth and local color, as described in Source 2

Earth tones

Burnt umber, raw sienna

Architectural details and ground, consistent with Romantic landscape palettes

composition

The composition likely features a wide view with elements arranged into a coherent composition, including sky and weather as elements of the scene, consistent with landscape painting traditions (Source 4). As a topographical view, it prominently includes buildings, aiming for a degree of accuracy in depicting the specific location of the old Academy in Düsseldorf (Source 4).

step by step

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

underdrawing

step 01
Sketch the architectural forms and perspective of the old Academy using charcoal or thinned paint.
Tip — Ensure accurate proportions and perspective, as this is a topographical view.
Initial sketching

underpainting

step 02
Apply a grisaille underpainting using black, ultramarine, and white to establish values and forms.
Tip — Focus on light and shadow, ignoring color for now.
Grisaille

first pass

step 03
Once the grisaille is dry, begin glazing and scumbling with oil to add red and yellow tones.
Tip — Apply transparent coats of color, allowing the underlying painting to show through.
Glazing and scumbling

refining

step 04
Build up layers of paint, ensuring each layer contains more oil than the previous one to prevent cracking.
Tip — Use linseed oil to thin the paint for smoother application and proper drying.
Fat over lean

finishing

step 05
Refine details and adjust colors as needed, using palette knives or rags to scrape off excess paint if necessary.
Tip — Oil paint remains wet longer than other media, allowing for changes in color, texture, or form.
Layering and adjustment

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.
Varnishing

critical techniques

Glazing

Applying transparent coats of color over a dry underpainting to build depth and luminosity, as described in Source 2.

Scumbling

Applying semi-opaque paint over a darker ground to create coldness or grey blooms, as described in Source 2.

Fat over lean

Ensuring each additional layer of paint contains more oil than the layer below to allow proper drying and prevent cracking, as described in 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 stiff appearance; copying works like Reynolds’ 'Portraits of Two Gentlemen' can help correct this tendency (Source 1).
→Neglecting the importance of the underpainting, which provides the structural foundation for the color layers (Source 2).

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 details of the architectural features of the old Academy in Düsseldorf are not described in the sources, so the artist must rely on historical references or imagination for accuracy.
·The exact palette used by Achenbach for this specific painting is not detailed, so the suggested palette is based on general practices of the period and the artist's style.
·The specific varnish medium used by Achenbach is not mentioned, though traditional varnishes like copal or damar are likely.

grounded in

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

The Practice of Oil Painting↗
- ON COPYING — applied to Advice on correcting tendencies to over-model or be too tied to outlines
- COLOURING A MONOCHROME — applied to Techniques for glazing and scumbling, and the use of grisaille underpainting

cross-referenced from

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

Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to Basic rules of oil paint application, including 'fat over lean' and the use of solvents
Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to Understanding the genre of cityscape and topographical views
Wikipedia bio — Andreas Achenbach↗
- part 1 and part 2 — applied to Biographical context and artistic style of Achenbach