plate no. 7060

Nuns in the Certosa Cloister, overlooking a Moonlit Sea towards the Faraglioni, Capri

oil, canvasRomanticisminteriornunscloistermoonlit seaarchesarchitecturelandscape

recreation guide

This artwork, created by Franz Ludwig Catel in 1823, exemplifies his transition into the 'new classic school of landscape' while retaining a strong interest in architectural detail and figure placement (Source 5). Catel is noted for laboring to make his perspective tell effectively and for gaining a great mastery over light and shade, particularly in works that combine interior or cloistered settings with expansive exterior views (Source 5). The painting likely utilizes the Romantic era's emphasis on atmospheric effects, where the contrast between the dark interior of the Certosa cloister and the moonlit sea creates a dramatic chiaroscuro effect. While specific visual details of the nuns or the exact layout are not described in the provided sources, the work aligns with Catel’s documented practice of painting landscapes with prominent architectural details and figures in the foreground, often moving into genre painting territory (Source 5).

estimated time

40-60 hours over 8-12 sessions

materials

6 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Canvas	Primary support for oil painting	Linen or cotton canvas, primed
Oil paints (pigments)	Color application	Titanium White, Lead White (historical), Ultramarine, Ochres, Umbers
Linseed oil or Poppy seed oil	Binder for pigments; provides flexibility and rich color	Refined linseed oil or walnut oil
Turpentine	Thinner for initial layers and cleaning	Odorless mineral spirits or pure gum turpentine
Palette knife	Mixing colors and applying thick impasto if needed	Standard palette knife
Brushes	Application of paint	Hog bristle for impasto, sable for glazing

preparation

surface prep

The canvas should be prepared with a ground suitable for oil painting, likely a white or off-white gesso to allow for the full range of light and dark values Catel mastered (Source 7). Historical practice involved sizing the canvas with animal glue and applying multiple layers of chalk and glue or oil-based gesso to create a smooth, absorbent surface. Catel’s focus on 'light and shade' suggests a bright ground would be beneficial for building up luminous highlights in the moonlit scene (Source 5).

underdrawing

Catel’s precise architectural details and effective perspective suggest a careful underdrawing, likely executed in charcoal or thinned oil (bitumen or umber) to map out the linear construction of the cloister arches and the distant Faraglioni rocks (Source 1). Given his background in wood carving and book illustration, he likely valued precise linear construction before applying color (Source 5).

underpainting

A grisaille or monochrome underpainting is likely to establish the 'massing of light and shade' that Catel was known for (Source 1). This step would define the contrast between the dark interior of the cloister and the bright moonlit sea, ensuring the 'chiaro-scuro' effect is structurally sound before adding color (Source 2).

color palette

Moonlight Blue/Grey

Ultramarine, White, touch of Yellow Ochre

The moonlit sea and sky; Catel’s mastery of light suggests cool tones for the moonlight

Deep Umber/Black

Burnt Umber, Ivory Black

The shadows of the cloister interior and the nuns’ habits

Warm Ochre/White

Yellow Ochre, White

Highlights on the architecture and moonlit water reflections

Neutral Grey

White, Black, touch of Red or Blue

Mid-tones of the stone architecture

composition

Catel characteristically places prominent architectural details in the foreground or middle ground, using them to frame the landscape view (Source 5). The composition likely uses the cloister arches to create a 'frame within a frame' effect, directing the viewer’s eye from the dark interior to the bright exterior. His inclination to make perspective 'tell effectively' suggests a strong vanishing point leading towards the sea and Faraglioni (Source 5). The figures (nuns) are likely placed in the foreground to provide scale and a genre element, consistent with his move into genre painting (Source 5).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the architectural lines of the cloister and the distant Faraglioni rocks with charcoal or thinned paint. Focus on accurate perspective.
Tip — Ensure the vanishing point aligns with the viewer’s eye level to enhance depth.
Linear construction

underpainting

step 02
Apply a monochrome layer (grisaille) to establish the light and shadow masses. Darken the interior cloister and lighten the moonlit sea.
Tip — Use the contrast between light and dark to create a 'true gradation of light' (Source 2).
Chiaro-scuro

first pass

step 03
Block in the main colors. Apply cool blues and greys to the sea and sky, and warm umbers to the stone architecture.
Tip — Remember that juxtaposing colors affects their appearance; blue beside red verges on orange, so adjust hues accordingly (Source 3).
Color blocking

refining

step 04
Refine the details of the nuns’ habits and the architectural textures. Use glazing to deepen shadows and enhance the luminosity of the moonlight.
Tip — Use the law of simultaneous contrast to intensify colors; surround the moonlight with darker tones to make it appear brighter (Source 4).
Glazing

finishing

step 05
Add final highlights to the water and moon. Ensure the transition between the dark interior and bright exterior is smooth but distinct.
Tip — Check the overall harmony of colors, ensuring that the inherent colors of the objects (stone, water, fabric) are balanced (Source 2).
Highlighting

critical techniques

Chiaro-scuro

Used to create dramatic contrast between the dark cloister interior and the moonlit exterior, enhancing the illusion of depth and atmosphere.

Simultaneous Contrast

Applied to intensify the moonlight by surrounding it with darker tones, and to harmonize the colors of the architecture and sea.

Perspective Mastery

Catel’s focus on making perspective 'tell effectively' is crucial for rendering the cloister arches and distant landscape accurately.

common pitfalls

→Failing to establish a strong underpainting for light and shade, resulting in a flat appearance.
→Ignoring the law of simultaneous contrast, leading to muddy or dull colors when juxtaposing the moonlight with the dark interior.
→Overworking the details of the nuns or architecture before the underlying values are correct, which can obscure the perspective.

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 Catel in 1823 are not detailed in the sources.
·The exact facial expressions or gestures of the nuns are not described, so they must be inferred from general genre painting conventions.
·The specific texture of the canvas or ground used by Catel is not explicitly stated, though standard oil painting practices are assumed.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting — THE FRENCH SCHOOL↗
- General Technique — applied to Underdrawing and linear construction
Laws of Contrast of Colour↗
- Chiaro-scuro and Contrast — applied to Underpainting and color harmony
The Science of Painting↗
- Color Theory — applied to Color juxtaposition and intensification