plate no. 8820
Litzlberg am Attersee
Gustav Klimt, 1915
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.
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