plate no. 2007

Moonlit night near Yalta

oilRomanticismlandscapeseatreesmountainsskymoonlandscape

recreation guide

Ivan Aivazovsky’s 'Moonlit night near Yalta' (1863) is a quintessential example of his Romantic marine style, characterized by dramatic lighting and the interplay between light and water. While the specific visual details of this particular canvas are not described in the provided sources, Aivazovsky’s work from this period is noted for its 'epic and romantic' themes and a variety of colors that transitioned toward a 'more truthful vision' in his later years (Source 4). The painting likely employs the artist’s signature technique of capturing the 'romantic struggle between man and the elements' or the serene power of the sea, often using delicate colors and silver-toned effects that became dominant in his later career (Source 4).

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

8 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Raw Umber, Yellow/Red earths)	Primary pigments for grisaille and glazing	Artist-grade oil paints
Linseed oil or Oil of Copavia	Medium for mixing paints and glazing	Stand oil or refined linseed oil
Spirits of Turpentine	Thinner for initial layers and cleaning	Odorless mineral spirits
Sable brushes	Applying thin washes and detailed glazes	High-quality synthetic or natural sable brushes
Canvas	Support surface	Linen or cotton canvas, primed
Charcoal	Initial underdrawing	Vine charcoal or compressed charcoal

preparation

surface prep

The canvas should be prepared with a ground suitable for oil painting. While specific priming methods for this exact work are not detailed, traditional oil painting practices of the period involved preparing a stable surface to accept multiple layers of oil and glaze (Source 3). Aivazovsky’s academic background suggests a standard, smooth ground to facilitate his precise rendering of water and light.

underdrawing

Begin by sketching the composition with charcoal. As per traditional practice described in the sources, place the drawing carefully on the canvas, ensuring proportions are correct. Once satisfied, blow off all but the faintest indications of the line to keep the picture clean and bright (Source 2). Go over the lines with a thin mixture of raw umber and turpentine using a sable brush to fix the drawing (Source 2).

underpainting

Create a monochrome study (grisaille) using a limited palette. The sources suggest using black, ultramarine, and white, or raw umber and white, to establish the tonal values without color (Source 1, Source 2). This step involves 'mentally extracting the red and yellow colours' to focus on the structural light and shadow (Source 1). Ensure this layer is completely dry before proceeding.

color palette

Ultramarine

Pure pigment

Shadows and deep water tones in the grisaille and glazes

White (Kremser or Flake)

Pure pigment

Highlights and mixing tints in the grisaille

Black

Pure pigment

Deep shadows in the grisaille

Raw Umber

Pure pigment

Underdrawing and neutral tones

Yellow and Red tones

Transparent glazes

Adding warmth and color to the moonlit scene via glazing

composition

Aivazovsky’s compositions often feature dramatic scenes on a large scale, emphasizing the romantic struggle between man and the elements or the sublime power of the sea (Source 4). While the specific layout of 'Moonlit night near Yalta' is not detailed in the sources, his work typically balances vast expanses of water with atmospheric lighting effects, consistent with the Romantic tradition of landscape painting which turned to wilder landscapes and storms (Source 6).

step by step

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

underdrawing

step 01
Sketch the composition with charcoal, ensuring correct placement and proportion. Blow off excess charcoal to leave faint lines.
Tip — A good study is often spoilt by being badly placed; take pains to place it well on the canvas (Source 2).
Charcoal sketching
step 02
Fix the drawing by going over the lines with a thin mixture of raw umber and turpentine using a sable brush.
Tip — This helps keep the picture clean and bright (Source 2).
Fixing with wash

underpainting

step 03
Paint a monochrome grisaille using black, ultramarine, and white (or raw umber and white). Establish the background, middle tint, and general shadow tones.
Tip — Mentally extract red and yellow colors to focus on tonal structure (Source 1).
Grisaille
step 04
Allow the grisaille to dry completely. This is crucial for the subsequent glazing steps.
Tip — Oil paint dries by oxidation, usually dry to the touch within two weeks (Source 3).
Drying

first pass

step 05
Apply transparent glazes of yellow and red tones over the dry grisaille. Use oil as a medium initially.
Tip — Glazing is a transparent coat of color. Apply it much as you would tint an engraving with watercolors (Source 1).
Glazing

refining

step 06
Use scumbling (semi-opaque painting) to adjust tones, particularly over darker grounds to create coldness or grey blooms if needed.
Tip — Scumbling allows the underlying painting to make itself felt (Source 1).
Scumbling

finishing

step 07
Refine the luminosity and atmospheric effects, ensuring each additional layer contains more oil than the layer below ('fat over lean').
Tip — This prevents cracking and peeling (Source 3).
Fat over lean

varnishing

step 08
Once fully dry, apply a varnish to protect the painting and enhance the depth of the glazes.
Tip — Varnish can be mixed with oil for final glazing stages (Source 1).
Varnishing

critical techniques

Glazing

Applying transparent coats of color over a dry monochrome underpainting to build up luminosity and color depth. This was a method practised by old masters and is essential for achieving the delicate colors in Aivazovsky’s later work (Source 1).

Scumbling

Using semi-opaque paint over a darker ground to create coldness or grey blooms, allowing the underlying layer to show through (Source 1).

Fat over Lean

Ensuring each subsequent layer of paint has a higher oil content than the previous one to ensure proper drying and prevent cracking (Source 3).

common pitfalls

→Applying glazes before the underpainting is completely dry, which can lead to muddiness or cracking.
→Violating the 'fat over lean' rule, causing the paint film to crack and peel (Source 3).
→Leaving heavy charcoal lines on the canvas, which can spoil the cleanliness and brightness of the final image (Source 2).
→Ignoring the simultaneous contrast of colors, which can lead to inaccurate color perception and application (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 'Moonlit night near Yalta' (e.g., exact placement of moon, waves, or landforms) are not described in the sources.
·Aivazovsky’s specific palette for this 1863 work is not detailed; the guide relies on general 19th-century oil painting practices and his general style.
·The exact size and canvas type for this specific painting are not provided.

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 Glazing and scumbling techniques
- MONOCHROME STUDY — applied to Underdrawing and grisaille preparation
Laws of Contrast of Colour↗
- 315-318 — applied to Color theory and perception

cross-referenced from

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

Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to General oil painting rules like 'fat over lean' and drying times
Wikipedia bio — Ivan Aivazovsky↗
- part 7 — applied to Artist’s style and period characteristics

Read more about the corpus on the sources page and how the guides are built on the methods page.

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