plate no. 6358
Over the Hills and Far Away
William Merritt Chase, 1897
recreation guide
William Merritt Chase’s 'Over the Hills and Far Away' (1897) is a landscape executed in the Impressionist style, a movement that emerged from the French tradition established by the Barbizon School and became a primary source of stylistic innovation in the late 19th century (Source 7). As a landscape painting, it depicts natural scenery—likely including elements such as hills, sky, and vegetation—arranged into a coherent composition where the sky and weather are integral to the view (Source 3). Chase’s approach to such works often involved painting outdoors to capture the immediate effects of light, consistent with the practice of artists who utilized the railway system to explore topography and paint en plein air (Source 7). The work relies on the principles of color contrast and the accurate perception of light modifications, which are central to Impressionist technique (Source 2).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Yellow, Red tones) | Primary pigments for underpainting and glazing as described in historical practice | Titanium White, Ultramarine Blue, Ivory Black, Cadmium Yellow, Alizarin Crimson |
| Oil of Copavia (or modern linseed/walnut oil) | Medium for the first and second paintings to ensure proper flow and drying | Stand Oil or Linseed Oil |
| Varnish | Mixed with oil for later glazing stages to gain mastery over transparent coats | Dammar Varnish or Synthetic Resin Varnish |
| Canvas | Support for the oil painting | Linen or Cotton Canvas, primed |
| Palette Knife | For applying semi-opaque scumbles and thick impasto if characteristic of Chase's finish | Flexible Palette Knife |
preparation
surface prep
The canvas should be prepared with a ground suitable for oil painting. While specific priming details for this exact canvas are not in the sources, Chase’s training and the era’s standards imply a white or neutral ground to allow for the full range of color mixing and glazing described in Source 1. The surface must be dry before beginning the monochrome preparation.
underdrawing
Chase was known for a loose, rapid handling of paint, often minimizing visible underdrawing in favor of direct painting or a very light sketch. Sources do not explicitly describe the underdrawing for this specific work, so it is likely minimal or non-existent, consistent with the Impressionist preference for capturing light effects directly rather than relying on rigid outlines (Source 8 warns against being 'too much tied down to your outline').
underpainting
A grisaille (monochrome underpainting) is recommended as a foundational step, based on the technique described in Source 1. This involves painting the composition in neutral tones (black, ultramarine, and white) to establish values and forms before applying color. This method allows the artist to 'mentally extract' red and yellow colors initially, focusing on the structural integrity of the landscape (Source 1).
color palette
Ultramarine
Pure pigment
Underpainting and cool shadows, as per Reynolds' method cited in Source 1
White
Pure pigment
Highlighting and mixing tints; essential for the 'lightest tone' adjustments in contrast (Source 2)
Black
Pure pigment
Underpainting and darkening values without shifting hue excessively, though complements are preferred for neutralizing (Source 6)
Yellow tones
Cadmium or Chrome Yellow
Glazing and scumbling to introduce warmth and light, applied over the dry grisaille (Source 1)
Red tones
Vermilion or Alizarin
Glazing and scumbling to introduce warmth, applied similarly to yellow tones (Source 1)
Green/Blue complements
Mixed from primaries
Creating contrast and neutralizing colors without shifting hue, per color theory (Source 4, Source 6)
composition
The composition likely features a wide view of natural scenery, with the sky included as a significant element, consistent with landscape painting conventions (Source 3). The arrangement of elements—hills, vegetation, and sky—should form a coherent whole. Chase’s Impressionist style suggests a focus on the 'modifications of the light on the model' rather than rigid topographical accuracy (Source 2). The composition may utilize simultaneous contrast, where colors influence each other’s appearance, requiring careful placement of complementary hues to enhance vibrancy (Source 2, Source 4).
step by step
underpainting→first pass→refining→finishing
underpainting
step 01
Create a grisaille using black, ultramarine, and white with oil of copavia as a medium. Focus on establishing the value structure of the landscape, mentally excluding red and yellow tones.
Tip — Ensure the grisaille is completely dry before proceeding to glazing.
Grisaille Underpainting
first pass
step 02
Begin glazing and scumbling with oil. Apply yellow and red tones transparently over the dry grisaille, similar to tinting an engraving with watercolors.
Tip — Use thin, transparent layers to build up color intensity without obscuring the underlying values.
Glazing
refining
step 03
As mastery increases, mix varnish with oil for subsequent glazing layers. This allows for deeper, richer color application.
Tip — Be cautious of the 'coldness' that can result from scumbling over darker grounds; adjust with warmer tones if needed.
Varnish Glazing
step 04
Apply semi-opaque scumbles to adjust local colors and create texture. Use this technique to introduce 'grey bloom' or atmospheric effects if desired.
Tip — Scumbling makes the underlying painting visible; use it to soften edges or add atmospheric haze.
Scumbling
finishing
step 05
Evaluate the color contrasts. Ensure that complementary colors are placed to enhance vibrancy through simultaneous contrast, and that tones are adjusted so the lightest tones are not lowered and darkest tones are not heightened unintentionally.
Tip — Watch for eye fatigue; step back frequently to assess true color relationships.
Simultaneous Contrast Adjustment
step 06
Neutralize any muddy colors by adding their complements rather than black, to avoid hue shifts toward green or blue.
Tip — Use small amounts of complement to darken without shifting the hue undesirably.
Complementary Neutralization
critical techniques
Glazing and Scumbling
Used to apply transparent and semi-opaque color layers over a dry monochrome underpainting. This method, practiced by old masters and referenced by Reynolds, allows for rich color depth and luminosity without muddying the paint.
Simultaneous Contrast
Understanding that adjacent colors influence each other’s appearance. The painter must perceive and imitate these modifications to achieve harmonious and vibrant results, especially in Impressionist landscapes.
Complementary Color Mixing
Using complementary colors to neutralize and darken hues without shifting them toward unwanted greens or blues, which can happen when adding black.
common pitfalls
- →Adding black to darken colors, which can cause hue shifts toward green or blue, especially in yellows, oranges, and reds (Source 6).
- →Over-modeling or being too tied down to outlines, which can result in a stiff, unnatural appearance. Chase’s style favors loose, broad masses (Source 8).
- →Ignoring the effects of simultaneous contrast, leading to colors that appear dull or inaccurate due to the influence of adjacent hues (Source 2).
- →Applying glazes before the underpainting is completely dry, which can lead to muddying and loss of clarity (Source 1).
- →Scumbling over dark grounds without caution, which can result in an unwanted 'coldness' or grey bloom (Source 1).
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 'Over the Hills and Far Away' such as the exact arrangement of hills, trees, or sky conditions are not described in the sources.
- ·Chase’s specific palette choices for this particular painting are not detailed; the palette is inferred from general Impressionist practice and the techniques described in Source 1.
- ·The exact medium ratios (oil to varnish) used by Chase are not specified; the guide recommends starting with oil and moving to varnish mixes as per Source 1.
- ·The specific underdrawing method for this work is unknown; the guide assumes minimal underdrawing based on Impressionist tendencies and Source 8’s advice against rigid outlines.
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 Underpainting, glazing, and scumbling techniques
- ON COPYING — applied to Advice against rigid outlines and over-modeling
Laws of Contrast of Colour↗
- Simultaneous Contrast — applied to Color harmony and contrast adjustments
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Landscape painting↗
- Landscape painting — applied to Context of landscape genre and composition
Wikipedia: Color theory↗
- Color mixing — applied to Neutralizing colors with complements
Read more about the corpus on the sources page and how the guides are built on the methods page.
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