plate no. 5691
He nears, he nears, in fury!
recreation guide
Arthur Rackham’s 'He nears, he nears, in fury!' is an oil painting executed in the Art Nouveau style, characterized by its illustrative quality and dramatic narrative tension. While the specific visual details of this particular composition are not described in the provided sources, Rackham’s general practice involved a sophisticated understanding of oil painting techniques that prioritized the expressive capacity of the medium over mere illusionism. The work likely employs a methodical approach to color and form, consistent with the principles of traditional oil painting where the artist acts as a 'sound craftsman' who understands the capacities of their medium (Source 2). The painting’s distinctive quality arises from the interplay of light and shadow, managed through careful layering and the application of color theory principles such as simultaneous contrast to harmonize the composition (Source 3, Source 5).
estimated time
20-30 hours over 5-7 sessions, allowing for drying times between layers
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Red, Yellow) | Primary pigments for underpainting and glazing, consistent with Sir Joshua Reynolds' method cited in historical practice. | Artist-grade oil paints |
| Linseed oil or Oil of Copavia | Medium for thinning paint and creating glazes; essential for the 'fat over lean' rule. | Stand oil or refined linseed oil |
| Mineral spirits or Turpentine | Solvent for cleaning brushes and thinning initial layers. | Odorless mineral spirits |
| Canvas or Panel | Support surface, likely rectangular, requiring preparation for oil application. | Primed linen or cotton canvas |
| Charcoal or Thinned Paint | For the initial sketching of the subject onto the surface. | Vine charcoal or diluted oil paint |
preparation
surface prep
The surface should be prepared to accept oil paint, ensuring a stable ground. While specific preparation for this artwork is not detailed, traditional oil painting techniques require a sound foundation to prevent cracking. The artist must ensure the surface is ready for the 'fat over lean' application rule, where each subsequent layer contains more oil than the previous one (Source 4).
underdrawing
The process likely begins with sketching the subject onto the canvas using charcoal or thinned paint, a traditional starting point for oil painting (Source 4). Rackham, as an illustrator, would have emphasized the 'alphabet of our art' and the importance of being a 'sound craftsman' before applying color (Source 2). The underdrawing serves to establish the composition and rhythmic lines that direct the spectator's attention, avoiding the distraction of the rectangular corners by using lines that swing toward the center (Source 7).
underpainting
A grisaille (monochrome underpainting) is likely employed, where the artist mentally extracts red and yellow colors, leaving only the tones that would remain if those colors were absent (Source 1). This monochrome layer establishes the light and shadow structure. Sir Joshua Reynolds’ method, cited as a historical precedent, involved initial paintings with oil of copavia using black, ultramarine, and white (Source 1). This layer must be completely dry before proceeding to glazing.
color palette
Ultramarine
Pure ultramarine pigment
Part of the initial monochrome underpainting, providing cool shadows and depth.
White
Lead white or Titanium white
Highlighting and mixing with ultramarine/black in the underpainting.
Black
Ivory black or Lamp black
Deep shadows in the monochrome underpainting.
Red and Yellow Tones
Transparent reds and yellows (e.g., Alizarin Crimson, Cadmium Yellow)
Glazing and scumbling over the dry grisaille to introduce color, mimicking the tinting of an engraving.
composition
While specific compositional elements of 'He nears, he nears, in fury!' are not described in the sources, Rackham’s illustrative style likely adheres to principles of rhythmic power and line direction. The composition probably uses lines to direct the spectator’s attention away from the corners and toward the central narrative action, utilizing the 'arresting power of the right angle' to structure the visual flow (Source 7). The arrangement of abstract lines underlying the expression is carefully hidden by natural appearance but essential for the picture’s emotional significance (Source 7).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the subject onto the prepared canvas using charcoal or thinned paint, focusing on the rhythmic lines that guide the eye toward the center of the composition.
Tip — Ensure lines are not too timid; depart from strict outlines if necessary to capture the emotional idea.
Traditional sketching
underpainting
step 02
Apply a monochrome grisaille using black, ultramarine, and white mixed with oil of copavia or linseed oil. Mentally extract red and yellow tones to establish the value structure.
Tip — This layer represents what would be left in nature if red and yellow were not present.
Grisaille
first pass
step 03
Allow the grisaille to dry completely. Then, begin glazing and scumbling with oil, applying yellow and red tones as they occur in the composition.
Tip — Glazing is a transparent coat; scumbling is semi-opaque. Use these to tint the underpainting much like watercolors on an engraving.
Glazing and Scumbling
refining
step 04
Apply subsequent layers following the 'fat over lean' rule, ensuring each layer has more oil content than the one below to prevent cracking.
Tip — Monitor drying times; oil paint dries by oxidation, taking up to two weeks to be dry to the touch.
Fat over Lean
finishing
step 05
Adjust colors based on simultaneous contrast, ensuring that adjacent colors harmonize and that the lightest tones are not lowered and darkest tones heightened incorrectly.
Tip — Be aware that the eye may see colors inaccurately due to mixed contrast; correct for this by understanding the complementary effects.
Simultaneous Contrast
critical techniques
Glazing and Scumbling
Used to introduce color over a dry monochrome underpainting. Glazing provides transparency, while scumbling offers semi-opaque texture, allowing the underlying painting to show through.
Fat over Lean
A fundamental rule of oil painting where each successive layer contains more oil than the previous one to ensure proper drying and prevent cracking.
Simultaneous Contrast
Understanding that adjacent colors affect each other’s appearance, allowing the painter to harmonize the composition and accurately perceive light modifications.
common pitfalls
- →Applying layers with less oil than the previous layer, leading to cracking and peeling (Source 4).
- →Ignoring the effects of simultaneous contrast, resulting in inaccurate color perception and disharmonious compositions (Source 3).
- →Attempting to deceive the eye with mere illusionism rather than expressing the emotional idea through the vitality of the medium (Source 8).
- →Over-modeling or being too tied down to the outline, which can result in a small, timid appearance (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 visual details of 'He nears, he nears, in fury!' such as character poses, background elements, and exact color choices are not described in the sources.
- ·Arthur Rackham’s specific personal variations on the general oil painting techniques described in the sources are not detailed.
- ·The exact year of creation is not available, limiting context regarding specific period materials or trends.
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 techniques
- ON COPYING — applied to Craftsmanship and compositional advice
Laws of Contrast of Colour↗
- 315-318 — applied to Color theory and simultaneous contrast
The Practice and Science of Drawing↗
- ILLUSTRATING SOME OF THE LINES... — applied to Compositional structure and line direction
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 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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