plate no. 9010

Icebergs in the Atlantic

oil, canvasRomanticismlandscapeicebergsshipoceanskycloudswater

recreation guide

Ivan Aivazovsky’s 'Icebergs in the Atlantic' (1870) is a quintessential example of Romantic landscape painting, a genre that intensified interest in remote, wild, and majestic natural scenery during the 19th century (Source 5). The work likely emphasizes the spiritual and sublime elements of nature, consistent with the Romantic tradition where weather and sky are dominant compositional elements (Source 3). Aivazovsky was renowned for his mastery of light and water, often employing large-scale canvases as a nationalist statement in Russian art (Source 5). The painting relies on the optical effects of light reflecting off ice and water, requiring a sophisticated understanding of color contrast and harmony to depict the cold, luminous atmosphere of the Arctic.

estimated time

40-60 hours over 8-12 sessions

materials

6 items

steps

7 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Yellow Ochre, Vermilion/Red Lead)	Primary pigments for creating the grisaille underpainting and subsequent glazes	Modern tube oils: Ultramarine Blue, Titanium White, Ivory Black, Yellow Ochre, Cadmium Red
Linseed oil	Medium for mixing pigments and creating transparent glazes	Refined linseed oil
Oil of Copavia (or modern substitute like Gamsol/Odourless Mineral Spirit)	Solvent/medium for initial layers, as cited in historical practice	Odourless Mineral Spirit (OMS) or Gamsol
Canvas	Support for the painting	Primed linen or cotton canvas
Hog bristle and Sable brushes	Hog bristle for broad strokes and impasto; Sable for fine details and glazing	Synthetic or natural hair brushes of various sizes
Palette knife	Mixing paints and applying thick layers of paint (impasto) for texture	Standard metal palette knife

preparation

surface prep

The canvas should be primed with a white or light-toned ground to facilitate the layering of transparent glazes. While specific priming recipes for Aivazovsky are not detailed in the sources, the general practice of the period involved preparing a stable ground to support the oil layers (Source 6). A white ground is particularly useful for the luminous effects required in ice and snow depictions.

underdrawing

Aivazovsky’s preparatory methods are not explicitly detailed in the provided sources. However, given the complexity of his seascapes, a light underdrawing in charcoal or thinned oil to establish the horizon line, the placement of icebergs, and the flow of water is recommended. This aligns with the general practice of establishing linear construction before applying color (Source 6).

underpainting

The painting should begin with a monochrome underpainting, known as a grisaille. This involves using black, ultramarine, and white to establish the values and forms of the composition without color (Source 1). This step is crucial for mentally extracting red and yellow tones, allowing the artist to focus on the structural light and shadow of the ice and water (Source 1).

color palette

Ultramarine Blue

Pure Ultramarine

Deep shadows in the water and sky, and as a base for the grisaille underpainting

White

Lead White or Titanium White

Highlights on ice, foam, and clouds; also used in the grisaille for mid-tones

Black

Ivory Black or Lamp Black

Deep shadows and defining forms in the grisaille underpainting

Yellow Ochre

Glazing to add warmth to highlights and simulate the reflection of sunlight on ice

Vermilion/Red Lead

Red pigment

Subtle glazes to add depth and warmth to the sky and water reflections, following the principle of adding red and yellow tones after the grisaille

composition

The composition likely features a wide view with the sky and weather as dominant elements, consistent with the Romantic landscape tradition (Source 3). The arrangement of icebergs and water should create a coherent composition that emphasizes the vastness and power of nature. The use of light and shade should be massed to create depth and atmosphere (Source 6).

step by step

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

underdrawing

step 01
Sketch the basic composition on the primed canvas, focusing on the horizon line, the placement of major icebergs, and the flow of the water.
Tip — Ensure the proportions and perspective are correct before proceeding.
Linear construction

underpainting

step 02
Create a grisaille underpainting using black, ultramarine, and white mixed with oil of copavia or a similar medium. Establish the full range of values from dark shadows to bright highlights.
Tip — Mentally extract red and yellow colors, focusing on the structural light and shadow (Source 1).
Grisaille

first pass

step 03
Once the grisaille is dry, begin applying transparent glazes of yellow and red tones using oil as a medium. This mimics the process of tinting an engraving with watercolors (Source 1).
Tip — Apply thin, transparent layers to build up color intensity without obscuring the underlying values.
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to add texture and coldness to the ice and water, particularly over darker grounds. This technique allows the underlying painting to show through, creating a grey bloom effect (Source 1).
Tip — Be cautious not to overwork the paint; maintain the transparency of the glazes.
Scumbling
step 05
Apply thicker layers of paint (impasto) with a palette knife or stiff brush for the brightest highlights on the ice and foam. This adds texture and luminosity.
Tip — Use hog bristle brushes or a palette knife for bold strokes and texture (Source 7).
Impasto

finishing

step 06
Review the color harmony and contrast. Ensure that the complementary colors (e.g., blue and orange/yellow) are balanced to create visual tension and interest (Source 4, Source 8).
Tip — Check for simultaneous contrast effects, where adjacent colors influence each other's appearance (Source 2).
Color Harmony

varnishing

step 07
Allow the painting to dry completely for several months before applying a final varnish to protect the surface and enhance the depth of the glazes.
Tip — Use a resin-based varnish suitable for oil paintings.
Varnishing

critical techniques

Grisaille Underpainting

Used to establish values and forms before adding color. This method allows the artist to focus on light and shadow without the distraction of hue (Source 1).

Glazing

Transparent layers of color are applied over the dry grisaille to build up richness and depth. This technique is essential for achieving the luminous quality of ice and water (Source 1).

Scumbling

Semi-opaque paint is applied over darker grounds to create texture and coldness, particularly useful for depicting the rough surface of ice and the misty atmosphere (Source 1).

Simultaneous Contrast

Understanding how adjacent colors influence each other helps in accurately depicting the subtle color shifts in the sky and water (Source 2).

common pitfalls

→Overworking the glazes, which can muddy the colors and obscure the underlying values (Source 1).
→Ignoring the effects of simultaneous contrast, leading to inaccurate color perception and application (Source 2).
→Using too much medium in the initial layers, which can lead to cracking or poor adhesion (Source 7).
→Failing to allow sufficient drying time between layers, especially when using oil of copavia or similar mediums (Source 1).

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 about Aivazovsky's personal palette and pigment choices are not provided in the sources.
·The exact dimensions and aspect ratio of the original painting are not specified.
·Detailed information about Aivazovsky's brushwork style and specific stroke techniques is lacking.
·The sources do not provide information on the specific lighting conditions or time of day depicted in 'Icebergs in the Atlantic'.

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 Grisaille underpainting, glazing, and scumbling techniques
- THE FRENCH SCHOOL — applied to General materials and compositional analysis
Laws of Contrast of Colour↗
- 315-318 — applied to Understanding simultaneous contrast and color perception

cross-referenced from

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

Wikipedia: Landscape painting↗
- part 1 and part 7 — applied to Context of Romantic landscape painting and compositional elements
Wikipedia: Complementary colors↗
- part 1 — applied to Color harmony and contrast principles
Wikipedia: Oil painting↗
- part 6 — applied to Materials and brush types