plate no. 8820

Litzlberg am Attersee

Gustav Klimt, 1915

oil, canvasArt Nouveau (Modern)landscapehousetreeswaterlandscapearchitecturefoliage

what to study here

It shows how edge control and sorted greens in a narrow value range can hold a landscape together without strong contrast or cast shadows.

Read this as a study in how much a painter can do with greens held inside a narrow value range. The vision analysis describes a white house in the middle ground, set against dense vertical foliage that fills the upper two-thirds, with still water below. Squint and it breaks into three shapes: a bright vertical rectangle, a cool horizontal band, and one massed textured form. Look at how the greens are sorted, from olive-gray-green to bright yellow-green, with sunlit and shadowed foliage kept distinct. Then look at the edges. Foliage is built from visible, overlapping directional strokes with soft edges between masses, while the house and the roof and water lines are kept crisper and flatter, so the building anchors the scene. The water is dragged in horizontal strokes, with the house reflected in muted tones. Light is diffuse, with no harsh shadows. Copy the edge hierarchy first, then the green separation.

key decision

The painter kept foliage edges soft and strokes directional while holding the house and the water and roof lines crisper and flatter, making the building the anchor of an otherwise textured field.

recreation guide

Gustav Klimt’s 'Litzlberg am Attersee' (1915) is a landscape painting executed in oil on canvas, representing the artist’s significant body of work outside his more famous figurative and allegorical pieces. As a founding member of the Vienna Secession and a key figure in Art Nouveau, Klimt’s landscapes are characterized by a distinct departure from conventional realism, often employing a decorative, mosaic-like application of paint that reflects his interest in Japanese art and modernist abstraction (Source 6). The work belongs to the genre of landscape painting, which depicts natural scenery such as mountains, valleys, and forests, arranged into a coherent composition where the sky and weather often play integral roles (Source 3). Unlike topographical views that prioritize exact accuracy, Klimt’s approach likely emphasizes the spiritual or aesthetic essence of the view, consistent with the broader Western tradition where landscape art can convey mood and structure over strict literalism (Source 3).

estimated time

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

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Yellow ochre, Red ochre, Cadmium Yellow, Alizarin Crimson)	Primary pigments for underpainting and glazing	—
Linseed oil or Poppy seed oil	Binder and medium for thinning paints and creating glazes	Cold-pressed linseed oil
Turpentine or Odorless Mineral Spirits	Thinner for initial washes and cleaning brushes	Gamsol or Odorless Mineral Spirits
Canvas (primed)	Support for the oil painting	Linen or cotton canvas with acrylic gesso
Varnish (optional, for final protection)	To protect the finished work and unify the surface sheen	Dammar varnish or synthetic resin varnish

preparation

surface prep

The canvas should be primed with a white or light-toned ground to allow for the transparency of glazes. Klimt’s practice, influenced by the Vienna Secession’s modernist tendencies, likely favored a smooth surface to accommodate the fine, decorative brushwork characteristic of his landscapes. While specific priming recipes for this exact work are not detailed in the sources, standard oil painting practice involves a stable, absorbent ground to prevent oil starvation (Source 8).

underdrawing

Klimt’s preparatory methods for landscapes are not explicitly detailed in the provided sources. However, given his background in architectural decoration and his precise, mosaic-like style, a light, loose underdrawing in charcoal or thinned oil is recommended to establish the major compositional elements: the lake, the mountain (Litzlberg), and the sky. Avoid heavy, dark lines that might show through the translucent glazes.

underpainting

A grisaille (monochrome underpainting) is highly recommended, following the traditional method described in Source 1. This involves painting the entire composition in neutral tones (using black, white, and perhaps ultramarine) to establish values and forms before applying color. This technique allows the artist to 'mentally extract' red and yellow tones initially, focusing on structure and light (Source 1). This aligns with the 'old masters' approach cited in the source, which Klimt’s academic training would have respected, even as he modernized the final appearance.

color palette

Ultramarine Blue

Pure Ultramarine

Sky and deep water reflections; part of the initial monochrome underpainting (Source 1)

White

Titanium or Zinc White

Highlights in clouds, snow on the mountain, and mixing for scumbles (Source 1)

Black

Ivory Black or Lamp Black

Shadows and defining forms in the underpainting (Source 1)

Yellow Ochre / Cadmium Yellow

Yellow earth tones and bright yellows

Glazing over the underpainting to introduce warmth to the landscape, as per the method of adding red and yellow tones later (Source 1)

Red Ochre / Alizarin Crimson

Red earth tones and transparent reds

Glazing to add depth and warmth to foliage and shadows, following the instruction to add red tones after the grisaille (Source 1)

composition

The composition likely follows the principles of landscape painting where natural elements are arranged into a coherent whole, with the sky playing a significant role (Source 3). Klimt’s style often flattens space, treating the landscape as a patterned surface rather than a deep recession. This is consistent with his Art Nouveau influences and the use of decorative elements. The eye is guided through the piece via line and shape, with the mountain and lake forming strong geometric anchors (Source 5).

step by step

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

underdrawing

step 01
Lightly sketch the main forms: the triangular mass of Litzlberg, the horizontal band of the Attersee, and the sky. Keep lines loose.
Tip — Do not press hard; the lines should disappear into the underpainting.
Underdrawing

underpainting

step 02
Create a grisaille using black, ultramarine, and white. Establish the full range of values from the darkest shadows in the mountain base to the brightest highlights in the sky.
Tip — Mentally exclude red and yellow colors, focusing only on the structural forms and light (Source 1).
Grisaille

first pass

step 03
Allow the grisaille to dry completely. Begin glazing with transparent oil colors, starting with yellow tones. Apply thin layers of yellow glaze over the areas that should appear warm or sunlit.
Tip — Glazing is a transparent coat of color that allows the underlying painting to show through, creating depth (Source 1).
Glazing

refining

step 04
Apply red tones via glazing to add warmth to shadows and foliage. Use scumbling (semi-opaque painting) with lighter colors over darker areas to create coldness or texture, such as in the misty parts of the lake or sky.
Tip — Scumbling over a darker ground tends to create a 'grey bloom' or coldness, useful for atmospheric effects (Source 1).
Scumbling

finishing

step 05
Refine the decorative, mosaic-like brushstrokes characteristic of Klimt’s landscapes. Ensure the colors harmonize, considering the simultaneous contrast of colors where adjacent hues affect each other’s appearance.
Tip — Be aware that the eye may perceive colors differently due to simultaneous contrast; adjust tones to ensure the intended visual effect (Source 2).
Color Harmony

varnishing

step 06
Once the painting is fully dry (months later), apply a varnish to protect the surface and unify the sheen.
Tip — Varnish can be mixed with oil for final adjustments, but pure varnish is best for protection (Source 1, Source 8).
Varnishing

critical techniques

Glazing

Applying transparent coats of color over a dry underpainting to build up luminosity and depth. This was a method practiced by old masters and is recommended for achieving rich, layered colors (Source 1).

Scumbling

Using semi-opaque paint over a darker ground to create texture, coldness, or atmospheric effects like mist. This technique allows the underlying layer to influence the final appearance (Source 1).

Simultaneous Contrast

Understanding that adjacent colors affect each other’s perception. The artist must account for this to harmonize the composition and accurately depict light modifications (Source 2).

common pitfalls

→Applying glazes before the underpainting is completely dry, which can lead to cracking or muddy colors (Source 1).
→Ignoring the effects of simultaneous contrast, resulting in colors that appear dull or inaccurate due to the influence of adjacent hues (Source 2).
→Over-modeling or becoming too tied to outlines, which can detract from the decorative, atmospheric quality of Klimt’s landscapes (Source 7).
→Using too much medium in the initial layers, which can cause the paint to remain soft and attract dust (Source 8).

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 pigment recipes used by Klimt for this particular painting are not provided in the sources.
·The exact brushwork patterns (e.g., stippling, hatching) used in 'Litzlberg am Attersee' are not described in the sources, though Klimt’s general style is noted as decorative.
·The specific ground preparation (e.g., color of the primer) for this canvas is not detailed.
·The role of gold leaf, common in Klimt’s 'golden phase,' is not mentioned for this landscape, but its absence or presence is not confirmed by the sources.

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
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and simultaneous contrast in refining stages

cross-referenced from

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

Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to Genre context and compositional elements (sky, weather, natural scenery)
Wikipedia bio — Gustav Klimt↗
- Gustav Klimt — part 1 — applied to Artist’s style, Art Nouveau influence, and landscape practice
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to Materials, mediums, and general oil painting process

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

A white house sits centered in the middle ground, nestled among dense vertical green foliage that dominates the upper two-thirds of the composition. The still water in the foreground reflects the building and landscape in muted, horizontal strokes. The light is diffuse and even—no harsh shadows—creating a serene, overcast-day quality. The eye enters at the pale house walls, which glow against their surrounding forest, then travels down to the water's edge where the reflections anchor the scene. Tall cypress-like trees frame both sides, their verticals pressing inward toward the composition's center.

value structure

The painting operates within a narrow, sophisticated range. The darkest darks are the deep blue-green of the water and the shadowed foliage at the composition's edges. The lightest lights are the house walls and their window-frame accents. Most of the mid-tone work clusters in the greens—a range from olive-gray-green to bright yellow-green—with careful distinction between sunlit and shadowed foliage. Squint and the house reads as a bright vertical rectangle, the water as a distinct cool horizontal band, and the foliage as one massed, textured form.

observed palette and mixes

#acbd91
Yellow ochre + viridian + white
Bright grass and sunlit foliage accents, especially upper-right tree forms
#8aa282
Viridian + yellow ochre + raw sienna
Mid-tone yellowed greens in tree masses and grassy areas
#769179
Viridian + ultramarine + yellow ochre
Muted gray-green foliage, particularly left and right tree edges
#6d8372
Ultramarine + viridian + ochre
Tree forms and deeper foliage masses, mid-value anchors
#5d7f6c
Ultramarine + viridian + touches of alizarin
Water reflections and darker shadowed foliage
#506a60
Ultramarine + viridian + burnt sienna
Darkest water areas, deep foliage shadows, house roof and window cavities

edges and brushwork

Brushwork is notably expressive and directional throughout—foliage is built with visible, overlapping strokes that suggest form without rendering detail. The water is handled with horizontal, dragging strokes that echo the reflection principle. The house, by contrast, reads with slightly crisper edges and flatter application, making it read as solid architecture against the organic texture. Edges between foliage masses are soft and blended; edges at the water line and roof line are maintained with more clarity, directing attention to the building as the compositional anchor.

a working sequence

01
Establish value zones and horizon
Lightly sketch the water line that divides the composition horizontally. Block in the house as a simple rectangle in the center, and indicate the vertical cypress-like tree positions flanking it. Use thin, transparent underpainting to map where darkest foliage and lightest house sit. This drawing guides all layers to come.
02
Lay in the water
Paint the entire water area with broad horizontal strokes in the darker muted greens and blues—use #506a60 for the deepest areas, transitioning to #5d7f6c and #769179 for lighter reflections. Leave the reflection path of the house slightly lighter. Work wet-into-wet where possible to keep edges soft and maintain that still-surface quality.
03
Establish the house mass
Block in the white house walls with off-white (white + tiny touch of yellow ochre). Paint the roof in dark shadow color—mix #506a60 with extra ultramarine. Define window openings as dark negative space. Keep edges clean where the house meets the foliage; this contrast is essential to the composition's hierarchy.
04
Build foliage foundation with layered greens
Working from back to front, establish the major tree masses using vertical and organic strokes. Use lighter yellowed greens (#acbd91, #8aa282) for upper and outer tree forms; reserve darker mixes (#6d8372, #5d7f6c) for shadowed interior spaces and left/right edges. Let colors overlap and breathe—do not blend smooth. The foliage should read as a single textured forest wall behind the house.
05
Define cypress verticals and tree structure
Establish the tall, narrow cypress-like tree forms on the left and right with vertical directional strokes in dark #506a60 and #6d8372. These frame the composition and create visual closure. Add vertical accent strokes within the upper foliage mass to suggest individual tree trunks and strengthen the forest's atmospheric depth. Keep these marks bold but not overly detailed.
06
Develop water reflections
With horizontal strokes in muted greens and grays, paint reflections directly below the house and foliage. The house reflection should be lighter than the water around it—use lighter grays and muted tones. Let reflections blur slightly and suggest form without precision. The water's surface should feel calm and unified.
07
Add texture and refine edges
Layer additional short strokes across foliage areas to build visual texture—overlay lighter yellowed greens atop darker base layers. Soften edges where the water meets the bank with dry-brush or gentle blending. Sharpen edges where foliage meets sky and where the house silhouette is strongest. The painting should feel atmospheric yet textured.
08
Final details and tonal unity
Add small window details, architectural accents on the house, and a chimney if visible. Introduce small highlights in yellow-green where sunlight touches bright foliage tops. Step back and ensure the water's tone unifies the composition—it should feel like a mirror that cools and anchors the landscape. No area should feel isolated; warm greens above should echo in reflected cool greens below.

where studies of this painting go wrong

Green muddiness: mixing too many greens together or over-blending will destroy the color separation. Mix each green deliberately—keep yellow-greens, blue-greens, and gray-greens separate until the moment they need to touch.
House receding: if the white is too pure or too dark, the house disappears into the foliage. Keep house walls crisp and maintain clear value separation from surrounding tones.
Reflection misalignment: water reflections must mirror the forms above—a careless reflection will make the water feel unstable or false. Plan reflections before painting; they anchor compositional coherence.
Over-detailing the foliage: the painting's strength lies in its impressionistic texture, not botanical accuracy. Stop short of rendering individual leaves or branches; trust the layered, directional strokes to suggest depth and form.
Losing the muted palette: the painting's sophistication depends on its restrained, earthy greens. Avoid bright or pure colors; everything should feel filtered through an overcast atmosphere.

measured difficulty