Olshtin

surface prep

The canvas should be primed to accept oil paint. While specific priming methods for Malayan are not detailed, traditional oil painting techniques assume a prepared surface that allows for the layering of paint. The artist may have used a neutral ground to facilitate the 'fat over lean' application rule, ensuring that subsequent layers contain more oil than the previous ones to prevent cracking (Source 1).

underdrawing

Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint (Source 1). For an Expressionist cityscape, this underdrawing likely established the basic contours and mass of the buildings and sky, emphasizing volume and form rather than minute detail, consistent with contour drawing principles that focus on the outlined shape and three-dimensional perspective (Source 5).

underpainting

A grisaille (monochrome underpainting) may have been employed. This technique involves painting the composition in neutral tones, mentally extracting red and yellow colors, to establish value and form before applying color glazes (Source 2). This method allows the artist to focus on composition and light/shadow relationships before introducing the complexity of color, a practice noted in traditional oil painting instruction (Source 2).

Fat over lean

A basic rule of oil paint application where each additional layer contains more oil than the layer below to ensure proper drying and prevent cracking.

Glazing

Applying a transparent coat of color over a dry underpainting to modify hue and value without obscuring the underlying form.

Scumbling

Applying a semi-opaque layer of paint through which the underlying painting is visible, often used to create coldness or grey blooms.

Contour drawing

Using lines to emphasize the mass and volume of the subject, focusing on the outlined shape and three-dimensional perspective.