plate no. 0909

Holländische Landschaft Mit Raubzug

oilBaroquelandscapelandscapetreesskycloudsfiguresanimals

what to study here

It shows clearly how one painter varies edge sharpness, value, and temperature across a single landscape to separate foreground, meadow, and distance.

The useful lesson here is how value zones organize depth. The vision analysis describes three distinct bands when you squint: a dark foreground tree, a bright horizontal strip of sunlit meadow, and a softer middle distance of trees and sky. Light comes from the upper left. The gnarled tree on the left holds the darkest darks, and its trunk shows directional strokes that follow the twist of the form, building bark texture. The foliage is handled differently: loose, feathered strokes with gaps where sky shows through, so the silhouette stays soft. Distant trees lose edge clarity and sit in cooler, paler greens, which pushes them back. The figures and horses on the meadow are reduced to small dabs and marks, yet they still read. Study how edge handling changes from hard-ish and directional in the tree to feathered at the sky line, and how the jump from dark foreground to bright meadow creates space. Squint at the image and check that the three zones hold.

key decision

The painter set the darkest values in the foreground tree against a bright, open meadow, then softened and cooled the distant trees. This gives three readable zones and a convincing recession.

recreation guide

Salomon van Ruysdael’s 'Holländische Landschaft Mit Raubzug' (Dutch Landscape with Raid) is a work rooted in the Baroque tradition of Dutch landscape painting. While specific visual details of this particular canvas are not described in the provided sources, the artist is historically recognized as a leading figure in the 'classical' phase of Dutch landscape art, which emphasized grandiose effects through vigorous contrasts of solid form against the sky and light against shade (Source 4). The title suggests a narrative element—a raid—integrated into the natural scenery, consistent with the genre’s tendency to include figures or events within wide views (Source 6). The work likely exhibits the atmospheric realism and tonal depth characteristic of the period, building upon the 'tonal' phase’s use of atmosphere while striving for structural grandeur (Source 4).

estimated time

40-60 hours over 8-12 sessions, allowing for drying times between glaze and scumble layers

materials

5 items

steps

7 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Earth tones, Reds, Yellows)	Primary pigments for underpainting and glazing	High-quality tube oils; Ultramarine Blue, Titanium White, Ivory Black, Burnt Umber, Raw Sienna, Cadmium Red/Yellow
Oil of Copavia (or modern stand oil/linseed oil)	Medium for the first and second paintings, as cited by Reynolds regarding old master methods	Stand oil or refined linseed oil
Varnish	Mixed with oil for later glazing stages to increase transparency and flow	Dammar varnish or synthetic resin varnish
Canvas or Panel	Support for the oil painting	Linen canvas primed with gesso
Brushes (various sizes)	For broad masses, detail, glazing, and scumbling	Hog bristle for impasto, sable for glazing

preparation

surface prep

Prepare a rigid support (panel or stretched canvas) with a white or light-toned ground. While the specific ground for this painting is not detailed, old masters often used prepared grounds that allowed for the layering techniques described. Ensure the surface is smooth enough to allow for fine glazing but textured enough to hold brushwork if desired.

underdrawing

The sources do not specify Ruysdael’s underdrawing method. However, contour drawing principles suggest emphasizing mass and volume rather than fine detail in the initial stage (Source 8). Use a thin wash of umber or charcoal to block in the major forms: the horizon, large tree masses, and the placement of figures or raiders. Avoid hard outlines; focus on the 'visual path' that leads the eye through the composition (Source 2).

underpainting

Create a grisaille (monochrome underpainting) using black, ultramarine, and white mixed with oil of copavia (Source 3). This stage establishes the values and forms without color. The goal is to 'mentally extract the red and yellow colours' and translate what would remain in nature if those colors were absent (Source 3). This monochrome layer should be allowed to dry completely before proceeding.

color palette

Ultramarine

Pure ultramarine blue

Underpainting and sky tones; part of Reynolds’ cited method for first/second paintings (Source 3)

White

Lead white (historical) or Titanium White (modern)

Highlights and mixing in the grisaille (Source 3)

Black

Ivory black or lamp black

Shadows and defining forms in the grisaille (Source 3)

Red/Yellow Tones

Vermilion, Red Lake, Yellow Ochre, Raw Sienna

Glazing and scumbling over the dry grisaille to introduce warmth and local color (Source 3)

Earth Tones

Burnt Umber, Raw Umber

General landscape elements, trees, and ground, consistent with Dutch landscape realism

composition

While the specific layout of 'Holländische Landschaft Mit Raubzug' is not detailed in the sources, Ruysdael’s classical phase style suggests a composition built on 'vigorous contrasts of solid form against the sky' (Source 4). The horizon line should likely be positioned to emphasize either the sky or the ground, avoiding an exact bisection (Source 5). A prominent element, such as a tree or a group of figures involved in the raid, should be off-center to create balance with smaller satellite elements (Source 5). The composition should guide the viewer’s eye around all elements before leading out of the picture, preventing it from becoming a static pattern (Source 5).

step by step

underdrawing→underpainting→drying→finishing→varnishing→first pass (glazing)→refining (scumbling)

underdrawing

step 01
Sketch the major compositional elements: the horizon, large tree masses, and the figures of the raid. Focus on mass and volume rather than detail.
Tip — Ensure the eye path leads through the scene; avoid exact bisections of space.
Contour drawing for mass/volume

underpainting

step 02
Mix black, ultramarine, and white with oil of copavia. Paint the entire scene in monochrome (grisaille), establishing all light and shadow values.
Tip — Mentally exclude red and yellow hues; focus on the structural forms and atmospheric depth.
Grisaille underpainting

drying

step 03
Allow the grisaille to dry completely. This is critical for the subsequent glazing and scumbling techniques.
Tip — Rushing this step will cause muddiness in the final colors.
Layer drying

finishing

step 06
Refine details, particularly in the 'vigorous contrasts' of light and shade. Enhance the solid forms of trees or figures against the sky.
Tip — Ensure the center of interest (the raid) is balanced by the surrounding landscape elements.
Detailing and contrast enhancement

varnishing

step 07
Apply a final varnish to protect the painting and unify the surface sheen.
Tip — Wait until the painting is fully dry to prevent cracking or yellowing.
Final varnishing

first pass (glazing)

step 04
Apply transparent coats of red and yellow tones over the dry grisaille using oil and varnish mixed as a medium. This mimics tinting an engraving with watercolors.
Tip — Use thin, transparent layers to build up color intensity without obscuring the underlying value structure.
Glazing

refining (scumbling)

step 05
Apply semi-opaque paint (scumbling) over darker areas to create coldness or grey blooms, allowing the underlying painting to show through.
Tip — This technique is particularly effective for atmospheric effects and distant elements, consistent with the 'tonal' phase’s atmospheric suggestions (Source 4).
Scumbling

critical techniques

Glazing

Applying transparent coats of color over a dry underpainting to build depth and luminosity. Cited as a method used by old masters, including Reynolds’ practice (Source 3).

Scumbling

Applying semi-opaque paint over a darker ground to create atmospheric effects, such as grey blooms or coldness. This technique allows the underlying form to remain visible (Source 3).

Grisaille Underpainting

Establishing the entire composition in monochrome (black, ultramarine, white) before adding color. This separates value structure from color application (Source 3).

common pitfalls

→Over-modeling or being too tied to the outline, which can make the painting appear timid or small (Source 1).
→Applying glazes before the underpainting is completely dry, leading to muddiness and loss of transparency (Source 3).
→Dividing the picture space with an exact bisection, which creates a static and uninteresting composition (Source 5).
→Ignoring the 'center of interest,' causing the work to become a mere pattern rather than a coherent narrative landscape (Source 5).

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 'Holländische Landschaft Mit Raubzug' (e.g., exact placement of figures, specific tree types, weather conditions) are not described in the sources.
·Salomon van Ruysdael’s specific personal palette preferences are not detailed; the guide relies on general old master techniques cited by Reynolds and general Dutch landscape practices.
·The exact date of the painting is not available, making it difficult to pinpoint specific period variations in technique.

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 (grisaille), glazing, and scumbling techniques
- ON COPYING — applied to General advice on avoiding over-modeling and smallness

cross-referenced from

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

Wikipedia bio — Salomon van Ruysdael↗
- part 8 — applied to Compositional style (classical phase, contrasts of form and sky)
Wikipedia: Composition (visual arts)↗
- part 5 — applied to Compositional rules (horizon line, center of interest, eye path)
Wikipedia: Contour drawing↗
- part 1 — applied to Underdrawing approach (mass and volume)

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

Light streams from the upper left, casting a bright, golden glow across the open meadow in the center and middle-distance. The composition is anchored by a massive gnarled tree on the left foreground, whose dark, twisted trunk and warm-lit foliage immediately capture attention; your eye then travels across the sunlit meadow where small figures and horses move, before the view recedes into a screen of softer, cooler trees at the horizon. The sky occupies the upper third, filled with white cumulus clouds against pale blue, brightest in the upper right corner.

value structure

The darkest darks cluster in the gnarled tree's trunk, shadows, and the underside of foliage masses; the brightest lights sit in the sky and white clouds, and in the most exposed parts of the sunlit meadow. The mid-tones dominate the middle ground—the foliage and grasses. When you squint, three distinct zones emerge: deep shadow-tree in the foreground, a bright horizontal band of meadow, and a softer middle-distance of trees and sky.

observed palette and mixes

#322c11
Burnt umber + ultramarine blue (near black)
Tree trunk, deep shadows under foliage, darkest branches
#524f1d
Burnt umber + ultramarine + touch of yellow ochre
Shadow-side foliage, darker tree masses, underside of canopy
#676e37
Yellow ochre + ultramarine + burnt umber
Golden-lit foliage of the foreground tree, sun-struck areas of middle-distance trees
#829e90
Ultramarine + yellow ochre + white (cool green)
Mid-tone foliage in trees, cooler distant vegetation
#a2b8ac
Ultramarine + white + touch of burnt umber (pale blue-green)
Sky tone, lighter foliage highlights, pale areas in clouds
#bccbb6
Titanium white + ultramarine + touch of yellow ochre
Brightest cloud highlights, sun-lit edges of foliage, pale sky near horizon

edges and brushwork

Edges vary dramatically throughout: the gnarled tree shows deliberate, directional brushstrokes that follow the form's contours and twists, with visible stroke marks building the bark texture. The foliage is rendered loosely—feathered strokes with gaps showing sky, creating a naturalistic, soft silhouette. Distant trees fade into soft, indistinct edges; the sky-to-foliage transition is particularly feathered, never hard. The distant figures are simplified to small dabs and marks that read clearly despite minimal detail.

a working sequence

01
Composition and value block-in
Sketch the placement of the large tree trunk and main branches on the left, the horizon line, and the horizontal sweep of the meadow across the middle third. Block in the three main value zones with thin color: place the darkest tones where the tree and its shadows will sit, leave the meadow area light, and establish the mid-tone trees behind. This creates your value roadmap.
02
Paint the sky and clouds
Lay in a pale blue-green for the sky, working lighter toward the upper right. Paint the white-cream clouds with soft, feathered edges—they are brightest in the upper portion and soften into the sky. Avoid hard edges; use a larger, soft brush to blend. The sky should feel luminous and receding.
03
Establish the gnarled tree structure
Working with a medium round brush and dark burnt umber mixed with ultramarine, paint the main trunk with its characteristic twist and curve. Note how it's not a simple vertical form—it leans and spirals. Add the primary branches with varying thickness. Leave gaps and negative spaces; you'll add foliage around these forms next.
04
Build the golden-lit foliage masses
Mix warm yellows and olive-greens (yellow ochre + ultramarine + burnt umber) for the foliage around the tree. Apply these colors with feathered, directional strokes that suggest the outer edges catching light. The top and sun-facing side of the foliage should be brightest; shadows pool underneath where the tree blocks light. Use a larger brush and let individual strokes show.
05
Develop the distant trees and middle ground
Paint the softer, more distant tree masses using cooler, paler greens (ultramarine + white + touches of yellow ochre). These trees should be distinctly less detailed and have softer edges than the foreground tree—suggest their forms rather than describe them. Keep them smaller and higher in the composition to enhance recession. Maintain softer brushwork and feathered edges.
06
Paint the illuminated meadow
Lay in the golden-yellow meadow with a warm tone (yellow ochre + touch of ultramarine for undertone, with white for light areas). Start darker in the foreground shadow and transition to brighter yellow-gold as it recedes toward the horizon. Suggest the path or track where the figures move with a slightly lighter line. Keep edges soft to maintain atmospheric depth.
07
Add figures, horses, and narrative elements
Once the landscape is established, add the small figures and riders in the middle distance with simplified forms and warm accent colors—burnt umber for clothing, darker marks for shadows on the horses. Keep these elements minimal and small; they should read clearly but never compete with the tree for attention. Place them across the meadow to suggest movement.
08
Refine shadows, edges, and atmospheric depth
Work back into deep shadows under the tree and foliage masses, slightly deepening them. Soften the transitions between lit and shadowed areas. Add subtle warm or cool glazes (thin transparent layers) to pull the background trees back further. Step back frequently to check that the foreground tree still dominates and that atmospheric depth feels convincing.

where studies of this painting go wrong

Making the gnarled tree too symmetrical or geometric—this tree's organic twists and irregular branching are its visual character; students often simplify it into a more regular form and lose the distinctive energy.
Painting background trees with equal detail and edge clarity as the foreground tree—atmospheric recession requires the distant foliage to be distinctly softer, cooler, and less resolved to read as distant.
Flattening or mishandling the meadow transition—the jump from dark foreground shadow to the bright, warm-lit meadow is crucial to spatial depth; if the values are too similar or the transition too abrupt, the space collapses.
Creating hard edges where the sky meets foliage—the feathered, soft-edged silhouette where distant trees break the sky is vital to the atmospheric effect; students often paint this as a clean outline instead of a natural, breathing edge.

measured difficulty