plate no. 9953

ON THE WASTE LANDS NEAR KALOCSA

Marianne Stokes, 1909

oilImpressionismlandscapetreeslandscapewaterskyfiguresreflection

what to study here

It shows how a flat, overcast, low-contrast landscape can be built from soft edges, broken color, and one dark water band plus a small red accent.

Look at how this painting holds together with almost no value contrast. The vision read describes a compressed, high-key range: pale cream sky, warm mid-tone grassland, and a darker water channel and tree masses, with no true darks or brilliant lights. Squint and you get three zones, and the water is the one distinct value anchor. Edges stay soft throughout. Clouds dissolve into each other, and the water merges with sky tone through horizontal marks. The grass is handled with broken, directional dashes of warm and cool set side by side, not blended, which suggests recession without literal detail. Foliage is scumbled and dotted but still reads as solid mass, while the trunks are thin, precise lines. The palette is restrained to creams, tans, and olive-browns, so the small red figures near the water's edge, right of center, carry the only warm accent and give human scale. Study how much structure comes from temperature shifts and a few placed darks, not from strong light and shadow.

key decision

Stokes kept the whole value range compressed and used the dark water channel as the single value anchor. The small red figures are the only strong warm note against the cream and tan.

recreation guide

Marianne Stokes’s 'On the Waste Lands Near Kalocsa' (1909) is a landscape painting executed in oil, situated within the Impressionist style. As a landscape work, it depicts natural scenery—likely including elements such as fields, sky, and weather conditions—arranged into a coherent composition where the sky is almost always included (Source 1). The work reflects the broader European tradition where landscape painting became a primary source of stylistic innovation, particularly through the influence of Impressionism and Post-Impressionism (Source 2). Stokes, working in the early 20th century, would have employed traditional oil painting techniques, likely beginning with a sketch and adhering to the 'fat over lean' principle to ensure the stability of the paint film (Source 3). The painting serves as a topographical or atmospheric view of the Hungarian plains, consistent with the genre's focus on wide views and natural elements rather than imaginary constructs (Source 1).

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (artist grade)	Primary medium for color application	—
Linseed oil	Medium to thin paint and increase oil content for 'fat over lean' layering	Stand oil or refined linseed oil
Mineral spirits or turpentine	Solvent to thin paint for initial layers and clean brushes	Odorless mineral spirits (OMS)
Canvas	Support surface	Linen or cotton canvas, primed
Charcoal or thinned paint	Initial sketching of the subject onto the canvas	Vine charcoal or diluted oil paint
Paintbrushes and/or palette knives	Application of paint; knives can also scrape off wet paint for corrections	—

preparation

surface prep

The canvas should be primed to accept oil paint. While specific priming methods for Stokes are not detailed in the sources, traditional oil painting practice involves preparing a stable ground. The artist likely used a standard white or neutral ground to allow for the full range of color modulation typical of Impressionist landscapes.

underdrawing

Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint (Source 3). For this landscape, the artist would likely sketch the major compositional elements—such as the horizon line, the placement of the sky, and the general forms of the waste lands—using charcoal or a thin wash of paint to establish the structure before applying opaque color.

underpainting

The sources suggest that traditional techniques may involve a monochrome underpainting (grisaille) or a lean initial layer. One method described involves creating a preparation by mentally extracting red and yellow colors, leaving a neutral base, which is then glazed and scumbled with oil (Source 4). Alternatively, the artist may have begun with a thin, lean layer of paint mixed with solvents to establish values and composition, adhering to the 'fat over lean' rule where subsequent layers contain more oil (Source 3).

color palette

Earth tones (ochres, umbers)

Natural earth pigments

Depicting the 'waste lands' and dry vegetation, consistent with the landscape genre's focus on natural scenery

Sky blues and whites

Ultramarine, cerulean, titanium white

The sky, which is almost always included in landscape views and often an element of the composition (Source 1)

Greens and browns

Viridian, sap green, burnt sienna

Vegetation and distant fields, reflecting the natural scenery of the Hungarian plains

Atmospheric grays/blues

Ultramarine, white, black

Creating distance and weather effects, as weather is often an element of landscape composition (Source 1)

composition

The composition likely features a wide view with elements arranged coherently, as is standard for landscape painting (Source 1). The sky is almost certainly included, playing a significant role in the mood and weather depiction (Source 1). As a landscape of the 'waste lands,' the focus is on the natural scenery rather than figures or buildings, though topographical accuracy may be present if the intent was to depict a specific place (Source 1). The arrangement likely emphasizes the vastness of the landscape, consistent with the Romantic and Impressionist traditions that intensified interest in remote or wide natural views (Source 2).

step by step

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

underdrawing

step 01
Sketch the main compositional elements (horizon, sky, land masses) onto the canvas using charcoal or thinned paint.
Tip — Ensure the proportions of the sky and land are balanced, as the sky is a key element in landscape composition.
Initial sketching

underpainting

step 02
Apply a thin, lean layer of paint (mixed with solvent) to establish basic values and color masses. Alternatively, create a monochrome grisaille base.
Tip — Keep this layer thin to allow proper drying and to adhere to the 'fat over lean' rule.
Lean underpainting / Grisaille

first pass

step 03
Begin applying color in broader strokes, focusing on the sky and distant elements first. Use glazing or scumbling techniques if a monochrome base was used.
Tip — Glazing involves applying a transparent coat of color; scumbling involves semi-opaque painting over a darker ground to create coldness or bloom (Source 4).
Glazing and Scumbling

refining

step 04
Build up subsequent layers of paint with increasing oil content ('fat over lean'). Refine details of the landscape, such as textures of the waste lands and atmospheric effects.
Tip — Ensure each additional layer contains more oil than the one below to prevent cracking and peeling.
Fat over lean layering

finishing

step 05
Adjust colors and textures using palette knives or brushes. Oil paint remains wet longer than other materials, allowing for changes in color, texture, or form.
Tip — If necessary, remove wet paint with a rag and turpentine or scrape off hardened layers with a palette knife.
Wet-on-wet adjustment

varnishing

step 06
Allow the painting to dry completely (up to two weeks) before applying a varnish if desired, to protect the surface and enhance depth.
Tip — Oil paint dries by oxidation, not evaporation, so patience is required.
Drying and Varnishing

critical techniques

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 (Source 3).

Glazing and Scumbling

Glazing applies a transparent coat of color; scumbling applies semi-opaque paint over a darker ground to create atmospheric effects like a 'grey bloom' (Source 4).

Outdoor Painting (Plein Air)

While not explicitly stated for Stokes in the sources, the Impressionist tradition and the influence of painters like Carlos de Haes who took students to paint in the countryside suggest that capturing natural light and weather effects directly from nature is key (Source 2).

common pitfalls

→Applying lean layers over fat layers, which can cause the final painting to crack and peel (Source 3).
→Ignoring the importance of the sky and weather in the composition, which are essential elements of landscape painting (Source 1).
→Over-modeling or becoming too tied to outlines, which can detract from the atmospheric quality of Impressionist landscapes (Source 8).
→Using low-quality oils, which can lead to an unstable paint film regardless of technique (Source 3).

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 color palette used by Marianne Stokes for this particular painting is not detailed in the sources.
·Exact compositional layout (e.g., position of sun, specific vegetation types) is not described in the sources.
·Stokes's specific preparatory methods (e.g., whether she used grisaille or direct painting) are not explicitly stated, though general traditions are cited.
·The specific size of the painting is not provided, which affects the scale of brushwork and time estimation.

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 underpainting
- ON COPYING — applied to Warning against over-modeling and being too tied to outlines

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 Composition notes, importance of sky and weather, definition of landscape genre
- Landscape painting — part 7 — applied to Context of Impressionism and outdoor painting traditions
Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to Materials, 'fat over lean' rule, sketching, drying times, correction methods

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

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

A quiet landscape under diffused overcast light, with two soaring poplars anchoring the center-right composition. The pale cream-toned sky dominates the upper half with soft blue-gray cloud masses suggesting gentle afternoon atmosphere. A water channel runs diagonally through the lower portion, creating a dark horizontal anchor that reflects the sky with cool-green-gray tones. The vast golden-tan grassland recedes gently toward the horizon, punctuated by scattered tree clumps. Small figures in red clothing gather near the water's edge (right of center), providing the only warm chromatic accent and establishing human scale.

value structure

The painting works in a high, compressed value range with no true darks or brilliant lights. The sky and distant forms are among the lightest passages—pale cream and light blue-gray. The water is distinctly darker, providing a value anchor. The grassland sits in warm mid-tones, slightly darker than the sky but lighter than the water. Tree foliage reads as the darkest elements but retains atmospheric softness rather than becoming silhouettes. Squinting reveals three main zones: pale sky (lightest), warm tan field (mid-light to mid-tone), and dark water plus tree masses (medium-dark).

observed palette and mixes

#cabe9d
Titanium white + raw sienna + touch of ultramarine
Sky highlights and pale cloud areas throughout the upper half
#b5b09a
Titanium white + yellow ochre + raw sienna
Lighter grassland areas, particularly in the middle distance and receding field
#a8a28e
Raw sienna + yellow ochre + touch of ultramarine
The dominant warm tan throughout the field, the primary grass tone
#968354
Yellow ochre + raw sienna + burnt sienna
Warmer foreground grass areas (right side), golden accents in field
#766133
Burnt sienna + ultramarine + raw sienna
Shadowed field areas and darker grass patches, creating depth and recession
#4b3e21
Ultramarine + yellow ochre + alizarin, or burnt umber + ultramarine
Dense tree foliage (central and left poplars) and darkest tree trunk areas

edges and brushwork

This work exemplifies controlled impressionism: edges are consistently soft and blended, especially in the sky where cloud forms dissolve gently into one another. The grass field is handled with broken, directional strokes that suggest recession and texture without literal detail—dashes of warm and cool color sit adjacent rather than blended. Tree foliage is scumbled and dotted with visible brushwork that creates a flickering, tactile surface while maintaining solid mass. Tree trunks are thin, precise lines threaded through the canopy with deliberate finality. Water reflections are suggested horizontally, merging sky tone into the water plane without hard edges.

a working sequence

01
Tone canvas and lay in major composition
Thin-tone your entire canvas with a neutral warm wash (yellow ochre + ultramarine + white) and let dry. Using loose charcoal or dilute paint, sketch the horizon line roughly at the upper-third mark. Mark the two central tall poplars as vertical accents, the diagonal water channel in the lower third, and the tree masses left and right. This is framework only—keep marks light and flexible.
02
Establish the sky
Paint the sky in one session, preferably wet-into-wet. Mix pale cream (#cabe9d: white + raw sienna + touch ultramarine) for the dominant upper area. Introduce cooler blue-gray (white + ultramarine + hint of raw sienna) into shadowed cloud areas, particularly center and right. Keep the top and left edges slightly warmer and more cream-toned. Blend softly—no hard edges. The result should feel atmospheric, not illustrative.
03
Water channel and reflections
Lay in the water with horizontal strokes of blue-green (ultramarine + yellow ochre + white) across the lower portion. Allow it to mirror the sky's colors—cool areas reflect cool, warm areas (where sky shows cream) reflect warm. The water must read noticeably darker than the sky but lighter than tree foliage. Keep reflections suggested (horizontal marks) rather than detailed. A thin warm line at the far embankment edge can suggest the grassy bank.
04
Distant and left tree masses
Build the darkened tree clusters on the left and background with dark olive-green (ultramarine + raw sienna + yellow ochre, favoring ultramarine). Apply in simplified, soft-edged masses—not individual trees. Keep these forms atmospheric: less saturated and softer than the foreground poplars will be. A few pale gaps between distant trees suggest sky showing through. This layer establishes spatial recession through atmosphere.
05
Central and right poplars—main focal trees
Paint the two dominant tall poplars with dense, dark green foliage (ultramarine + yellow ochre, emphasizing ultramarine for richness). Build with scumbled, dabbed strokes suggesting foliage clusters rather than outlines. Leave thin vertical gaps where pale sky or light shows through the canopy edges, especially on the left sides of the trees (where light catches volume). Forms should feel volumetric but atmospheric, never hard-edged silhouettes. These are your composition's anchor.
06
Grassland field—warm ground base
Fill the field area (between horizon and water) with warm golden-tan strokes using your primary grass mix (#a8a28e: raw sienna + yellow ochre + touch ultramarine). Vary with warmer accents (#968354) in the right foreground and slightly cooler shadow patches (#766133) for recession depth. Use short, directional strokes to suggest perspective lines receding toward the horizon. Resist overworking—broken color and suggestion matter more than detail. Let some underpainting show through.
07
Tree trunks and fine branches
Thread thin brown lines (burnt sienna + ultramarine) through the tree foliage, anchoring dense canopies to the ground. Trunks are delicate and linear—resist making them heavy or opaque. Some fade into foliage; others emerge cleanly. A few tan highlights on the lighter sides of visible trunks (where light catches cylindrical form) will enhance dimensionality. These lines guide the eye downward and anchor the composition.
08
Figures and final adjustments
Locate and paint the small cluster of red-clothed figures at the water's edge (right of center). Mix cadmium red + yellow ochre for warm red-orange; simplify them as a loose grouping with suggestion of posture and clothing rather than detail. These small figures establish human scale and provide the only strong warm chromatic accent. Step back and assess overall softness: gently soften any edges in the sky that read too hard, check water reflections for completeness, and verify tree-trunk silhouettes read without dominating. Maintain loose, atmospheric handling throughout.

where studies of this painting go wrong

Making the sky too blue or too cool—this sky is cream and pale yellow-white with blue-gray shadow areas, not a sky-blue dome. The warmth is essential to the painting's mood.
Over-rendering the grass field with detail or texture—impressionistic suggestion (broken color, directional marks) reads as distant terrain better than literal rendering ever will.
Losing the water as a compositional anchor; it must read distinctly darker than sky and ground, creating a visual break and establishing the foreground spatial layer.
Forgetting or minimizing the small red figures—they establish human scale, create focal interest, and provide the only chromatic warmth accent. A generous, unselfconscious brush captures them best.
Making tree foliage too solid or too faint; the forms need atmospheric softness with enough value distinction to read as distinct masses separate from sky.
Painting tree trunks too prominently, too thick, or too opaque—they are delicate, thin lines that thread downward and support composition without dominating.
Hardening edges throughout the composition; impressionist painting lives in soft transitions and blended edges, especially at sky-to-field, field-to-water, and tree-to-sky boundaries.

measured difficulty