plate no. 0846
On the coast of Capri
Andreas Achenbach, 1855
recreation guide
Andreas Achenbach’s 'On the coast of Capri' (1855) is a quintessential example of German Romantic landscape painting, characterized by its dramatic interplay of light and atmosphere. Achenbach was known for his meticulous attention to naturalistic detail combined with a grand, emotive scale, often painting from life or detailed sketches made during his travels. The work likely emphasizes the sublime qualities of the coastal scenery, utilizing the rich possibilities of oil paint to render the luminous sky and textured rock formations. As noted in general art-historical records, Achenbach’s practice involved rigorous study of nature, aiming to capture the specific atmospheric conditions and lighting effects of the Mediterranean coast. The recreation of this work requires an understanding of the Romantic approach to landscape, where the sky and weather are integral to the composition’s emotional impact. The artist would have employed a palette capable of rendering subtle tonal gradations and vibrant contrasts, leveraging the flexibility and depth of oil painting. The process involves careful preparation of the canvas, a structured underdrawing to ensure accurate proportions, and a layered application of paint to build up the luminosity and texture characteristic of Achenbach’s mature style.
estimated time
40-60 hours over 8-12 sessions
materials
8 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Canvas | Support for the painting, sized and primed | Linen or cotton canvas, pre-primed or sized with rabbit skin glue and gesso |
| Oil Paints | Primary medium for color and texture | High-quality tube oils: Raw Umber, White Lead (or Titanium/Zinc White for safety), Yellow Ochre, Red Ochre, Ultramarine Blue, Vermilion, Ivory Black |
| Linseed Oil | Binder and medium to adjust paint consistency and drying time | Stand oil or refined linseed oil |
| Turpentine | Thinner for initial layers and cleaning brushes | Odorless mineral spirits or pure gum turpentine |
| Charcoal | Underdrawing and initial shading | Vine charcoal or compressed charcoal sticks |
| White Palette | To ensure accurate judgment of color transparency and tone | White ceramic or glass palette |
| Brushes | Application of paint, varying sizes for detail and broad strokes | Hog bristle for impasto, sable for glazing and detail |
| Painting Varnish | To seal the underdrawing or initial wash if using watercolor sketch method | Damar varnish or acrylic isolation coat |
preparation
surface prep
The canvas should be sized with a good quality size, such as rabbit skin glue or a synthetic alternative, to prevent oil from rotting the canvas fibers. It is then primed with a white ground, likely gesso or lead white paint, to create a uniform, light-reflective surface. A white palette is advised to allow for correct judgment of color transparency and to keep tones light, ensuring that the colors on the palette match their effect on the white ground (Source 4). The surface must be impervious to oil to preserve the integrity of the paint layers.
underdrawing
Begin with a charcoal underdrawing to establish the composition and proportions. Draw the main elements of the landscape, such as the coastline, rocks, and sky divisions. Shade in the charcoal to model the forms slightly, using a dry brush to refine the modeling if necessary. Place the drawing alongside the reference (or imagine the view) to compare proportions and correct any errors in construction before applying paint. Charcoal is preferred because it offers little resistance to the brush and can be easily corrected with bread or erasure, preventing fatal errors in the paint layer (Source 1).
underpainting
Set the palette with raw umber and white, using turpentine to thin the paint. Apply an initial underpainting or 'imprimatura' using these neutral tones to establish the basic values and composition. This layer should be thin and allow the white ground to show through, helping to judge the subsequent color layers. The underpainting serves as a guide for the final colors and helps to unify the painting. It is advisable to plan for multiple sessions, as one painting will not suffice to complete the study; the idea is to go over the work at least three or four times to build up depth and luminosity (Source 1).
color palette
Raw Umber
Raw Umber pigment
Underpainting and shadow tones, providing a warm, earthy base
White
White Lead or Titanium White
Highlights, sky, and mixing with other colors to adjust value
Yellow Ochre
Natural Yellow Ochre
Earth tones, rocks, and warm highlights, consistent with ancient and traditional palettes
Red Ochre
Natural Red Ochre
Warm shadows and earthy accents
Ultramarine Blue
Ultramarine or Lapis Lazuli
Sky and distant water, providing depth and cool contrasts
Vermilion
Cinnabar or Synthetic Vermilion
Vibrant red accents, if present in the landscape or for warm light effects
Ivory Black
Bone Black or Ivory Black
Deep shadows and defining dark forms
composition
The composition likely features a wide view of the coastal landscape, with the sky occupying a significant portion of the canvas to emphasize the atmospheric conditions. The arrangement of elements follows the principles of landscape painting, where natural scenery is depicted with a coherent composition, often including mountains, valleys, or coastal features. The artist may have used the law of simultaneous contrast to enhance the visual impact, ensuring that colors are harmonized and that the modifications of light on the model are accurately perceived and imitated (Source 3). The placement of elements is designed to create a sense of depth and grandeur, characteristic of Romantic landscapes.
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Draw the composition in charcoal, focusing on accurate proportions and major forms. Shade lightly to indicate value structure.
Tip — Correct all errors in the charcoal stage before applying paint to avoid fatal mistakes in the paint layer.
Charcoal underdrawing
underpainting
step 02
Apply a thin layer of raw umber and white mixed with turpentine to establish the basic values and unify the surface.
Tip — Keep the layer thin and transparent to allow the white ground to influence the final colors.
Imprimatura
first pass
step 03
Begin applying color in broad strokes, focusing on the sky and large areas of land. Use the law of simultaneous contrast to adjust colors based on their surroundings.
Tip — Be aware that colors may appear different when placed next to each other; adjust accordingly to achieve harmony.
Color application with contrast awareness
refining
step 04
Add details and refine the forms, particularly in the rock formations and foliage. Use thicker paint for highlights and textured areas.
Tip — Work in multiple sessions, allowing each layer to dry before adding the next to build depth.
Impasto and glazing
finishing
step 05
Review the painting for overall harmony and balance. Make final adjustments to colors and values, ensuring that the light and atmosphere are convincingly rendered.
Tip — Step back frequently to assess the painting from a distance, as the eye can be deceived by close-up details.
Final adjustments
varnishing
step 06
Once the painting is completely dry, apply a final varnish to protect the surface and enhance the colors.
Tip — Use a high-quality varnish and apply it evenly to avoid streaks or uneven sheen.
Varnishing
critical techniques
Simultaneous Contrast
Used to adjust colors based on their interaction with adjacent colors, ensuring that the final painting appears harmonious and true to the visual experience of the landscape.
Layered Painting
Building up the painting in multiple layers, starting with thin underpainting and progressing to thicker impasto and glazes, to achieve depth and luminosity.
Charcoal Underdrawing
Using charcoal to establish the composition and correct errors before applying paint, ensuring a solid foundation for the final work.
common pitfalls
- →Applying paint with obvious errors in construction or drawing, which can be fatal to the lucidity of the painting (Source 1).
- →Ignoring the effects of simultaneous contrast, leading to colors that appear discordant or inaccurate when viewed together (Source 3).
- →Overworking the paint in a single session, which can muddy the colors and reduce the clarity of the image. It is better to work in multiple sessions, allowing each layer to dry (Source 1).
- →Using a non-white palette, which can distort the perception of color transparency and tone (Source 4).
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 details of the composition of 'On the coast of Capri' are not described in the sources, so the recreation relies on general knowledge of Achenbach's style and Romantic landscape conventions.
- ·The exact pigments used by Achenbach in 1855 are not specified, so modern equivalents are suggested based on historical practices.
- ·The specific lighting conditions and weather effects depicted in the painting are not detailed in the sources, requiring the artist to interpret these elements based on the Romantic style.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- PAINTING FROM LIFE — applied to Underdrawing, underpainting, and layered painting techniques
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Palette selection and material properties
- CHAPTER IX. OUTLINE AND EXECUTION OF A PICTURE IN OILS — applied to Surface preparation and palette usage
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and simultaneous contrast
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 General composition and genre conventions
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to Medium properties and historical context
Read more about the corpus on the sources page and how the guides are built on the methods page.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
in this vein
related artworks
Romantic Landscape
Karl Lessing
Self-portrait with his brother Francesco
Giuseppe Tominz
Oenone Refuse de Secourir Pâris au Siège de Troie
Léon Cogniet
Duke of Alba
Francisco Goya
Blick Aus Dem Wald Ins Tal
Andreas Achenbach
Young Girl Fixing Her Hair
Sophie Gengembre Anderson
The Plough Inn
William Shayer
Hudson River Landscape
Johann Hermann Carmiencke