plate no. 8784
In the Old Palace, Kandy, Ceylon (Sri Lanka)
Marianne North, 1880
recreation guide
Marianne North’s *In the Old Palace, Kandy, Ceylon* (1880) is a botanical and landscape study executed in oil on cardboard, consistent with her extensive body of work created during her travels to document global flora (Source 7). North is characterized by critics of her time for her 'freedom of hand, the purity and brilliancy of colour and the accurate draughtsmanship' (Source 7). Unlike traditional studio painters who might rely on heavy impasto or complex glazing for atmospheric depth, North’s practice was driven by the need for accurate botanical representation and portability, leading to a direct, vibrant application of paint. The work reflects her dedication to capturing the specific light and color of distant locations, such as Ceylon (Sri Lanka), where she spent time painting in 1875 (Source 7).
estimated time
10-15 hours over 3-4 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (tube) | Primary medium for color application | — |
| Linseed oil or similar drying oil | Medium to manipulate paint consistency and drying time | Stand oil or refined linseed oil |
| Cardboard or stiff paper support | North famously painted on cardboard to facilitate transport and display in her gallery (Source 7) | Heavyweight illustration board or mounted cardboard |
| Brushes (various sizes) | For detailed botanical rendering and broader landscape strokes | — |
| Palette knife | For mixing colors and potentially applying thicker passages if needed | — |
preparation
surface prep
North typically painted on cardboard (Source 7). The surface should be prepared with a gesso or acrylic ground suitable for paper/cardboard to prevent warping and provide tooth for the oil paint. While specific priming recipes for North are not detailed in the sources, standard practice for oil on paper supports involves sealing the surface to prevent the oil from degrading the paper fibers.
underdrawing
North is noted for 'accurate draughtsmanship' (Source 7). An underdrawing is likely essential to establish the precise botanical forms and architectural lines of the palace interior. Use a light charcoal or thinned oil wash to map out the composition, ensuring the placement of plants and structural elements is botanically and architecturally correct before applying color.
underpainting
The sources do not explicitly describe North’s use of grisaille or monochrome underpainting. However, general oil painting practice often involves establishing values early. Given North’s emphasis on 'brilliancy of colour' (Source 7), she likely worked relatively directly (alla prima) or with minimal underpainting to preserve color intensity, rather than building up through multiple opaque layers which can dull hues. If an underpainting is used, it should be thin and neutral to avoid muddying the subsequent vibrant glazes or scumbles.
color palette
Vibrant Greens
Viridian, Sap Green, Yellow Ochre
Botanical foliage, consistent with North’s focus on plant life
Warm Earth Tones
Raw Umber, Burnt Sienna, Yellow Ochre
Palace architecture, soil, and shadows, reflecting the tropical setting
Bright Accents
Cadmium Yellow, Alizarin Crimson, Ultramarine Blue
Flowers and sky, aligning with the 'purity and brilliancy of colour' noted in critiques (Source 7)
White
Titanium White or Zinc White
Highlights and mixing lighter tones; historically, lead white was common but modern equivalents are safer (Source 3)
composition
North’s compositions are characterized by a dense, immersive arrangement of flora, often filling the frame to emphasize the abundance of nature. While specific compositional rules for this painting are not detailed in the sources, her general practice involved capturing the 'flora of distant countries' with a focus on the plants themselves (Source 7). The interior setting of the Old Palace likely serves as a structured backdrop to the organic forms of the plants. The composition should balance the rigid lines of the architecture with the curving, natural lines of the vegetation, creating a rhythmic contrast (Source 6 discusses the rhythmic power of lines in composition generally).
step by step
underdrawing→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the architectural elements of the palace and the major plant forms using a light hand. Ensure botanical accuracy, as North was known for her precise draughtsmanship (Source 7).
Tip — Keep lines light to avoid showing through the final paint layers.
Conté crayon or thinned oil wash
first pass
step 02
Apply broad washes of color to establish the general tones of the background and foreground. Work from dark to light, or light to dark, depending on the desired effect. North’s 'freedom of hand' suggests a confident, direct application (Source 7).
Tip — Avoid overworking the paint; maintain the freshness of the initial strokes.
Alla prima or wet-on-wet
refining
step 03
Add details to the plants and architectural features. Use smaller brushes for fine botanical details. If needed, use glazing techniques to deepen shadows or enrich colors, as glazing is a traditional method for achieving depth and luminosity (Source 1).
Tip — Ensure underlying layers are dry before glazing to prevent muddying (Source 1).
Glazing and scumbling
finishing
step 04
Review the overall harmony and contrast. Adjust any areas where the color balance feels off. North’s work is noted for its 'purity and brilliancy of colour' (Source 7), so ensure that highlights are crisp and colors are vibrant.
Tip — Step back frequently to assess the overall effect.
Color correction
varnishing
step 05
Once the painting is completely dry, apply a protective varnish. This will enhance the depth of the colors and protect the surface, consistent with traditional oil painting practices (Source 1).
Tip — Use a high-quality damar or synthetic varnish.
Varnishing
critical techniques
Glazing
Applying transparent layers of color over dry underpainting to achieve depth and luminosity. This technique was used by old masters and can be employed to enrich the colors in the foliage and shadows (Source 1).
Scumbling
Applying semi-opaque paint over a darker ground to create texture and subtle color variations, such as a 'grey bloom' (Source 1). This can be useful for rendering the texture of leaves or stone.
Direct Painting (Alla Prima)
North’s 'freedom of hand' suggests a direct approach to painting, allowing for vibrant, fresh colors and efficient workflow, suitable for her travel-based practice (Source 7).
common pitfalls
- →Overworking the paint, which can dull the 'brilliancy of colour' that characterizes North’s work (Source 7).
- →Using incompatible mediums that may yellow or crack over time; linseed oil is a standard, but lighter colors may benefit from safflower or walnut oil to prevent yellowing (Source 3).
- →Neglecting the accuracy of botanical details, which is central to North’s reputation as a consummate artist (Source 7).
- →Applying glazes over wet underpainting, which can lead to muddied colors and technical failure (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 pigments used by Marianne North in 1880 are not detailed in the sources, though general oil painting practices of the time are described.
- ·The exact composition and visual details of *In the Old Palace, Kandy, Ceylon* are not described in the provided sources, so the recreation relies on general knowledge of North’s style and the title’s implications.
- ·North’s specific brushwork techniques (e.g., brush types, stroke direction) are not detailed, though her 'freedom of hand' is noted.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting — COLOURING A MONOCHROME↗
- Glazing and Scumbling — applied to Techniques for glazing and scumbling to achieve depth and texture
The Practice and Science of Drawing — ILLUSTRATING SOME OF THE LINES...↗
- Composition — applied to General principles of compositional rhythm and line
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Marianne North — part 2↗
- Biography — applied to Context of North’s travels, materials (cardboard), and critical reception ('freedom of hand', 'brilliancy of colour')
Wikipedia: Oil painting — Oil painting — part 4↗
- Materials — applied to Information on drying oils, pigments, and modern equivalents
Read more about the corpus on the sources page and how the guides are built on the methods page.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
related guides
in this vein
