plate no. 3372
Reflections (aka Canal Scene)
William Merritt Chase, 1885
recreation guide
William Merritt Chase’s 'Reflections' (1885) is a landscape executed in pastel, a medium that allows for the rapid capture of light and atmosphere characteristic of Impressionism. Chase, trained in Munich under Karl von Piloty and Alexander von Wagner, developed a loosely brushed style that emphasized broad masses of color and light over detailed finish (Source 4). While the provided sources focus heavily on watercolor and oil painting theories, they offer critical insights into the material science of the period, particularly regarding the importance of support quality and the optical effects of color contrast. The artwork likely relies on the artist’s ability to perceive and imitate the modifications of light on the model, utilizing the law of simultaneous contrast to harmonize colors inherent to the natural scene (Source 7).
estimated time
10-15 hours over 3-4 sessions
materials
4 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| High-quality pastel paper | Support for the pastel medium. While sources discuss watercolor paper extensively, noting it should be made from linen rags and properly sized to prevent staining (Source 1), pastel requires a toothed surface to hold pigment. A heavy-weight, textured paper is essential. | Sennelier Mi-Teintes or Canson Mi-Teintes pastel paper |
| Soft pastels | Primary medium. Chase’s Impressionist style requires vibrant, pure pigments to capture light effects without the muddiness that occurs when mixing too many colors (Source 3). | Sennelier or Holbein soft pastels |
| Fixative | To preserve the work. Pastels are fragile and prone to smudging. While not explicitly detailed in the sources, preservation is a key concern in the 'Science of Painting' discussions regarding material stability (Source 1). | Krylon Workable Fixative or similar archival spray |
| Blending stumps or fingers | To soften edges and create atmospheric effects, consistent with the 'loosely brushed style' Chase employed in his figurative works (Source 4). | Paper blending stumps |
preparation
surface prep
The support must be dry and free from dampness, as moisture can cause sizing to ferment and decompose, leading to stains and loss of properties (Source 1). Although the sources discuss watercolor paper, the principle of using a stable, well-sized support applies to pastel as well to ensure the pigment adheres properly without sinking in unevenly. The paper should not have suffered from dampness since manufacture (Source 1).
underdrawing
Chase’s style is characterized by a lack of rigid outlining; he favored broad masses and loose handling (Source 4). Therefore, the underdrawing should be minimal, perhaps just light indications of major forms and horizon lines, avoiding hard contours that would contradict the Impressionist aesthetic. The artist should not be 'too much tied down to your outline' (Source 6).
underpainting
Not applicable in the traditional oil sense, but the initial layer of pastel should establish the major tonal masses. Chase’s Munich training emphasized a loosely brushed style, suggesting that the first pass should be about capturing the general impression of light and color rather than detailed rendering (Source 4).
color palette
Bright Blues and Greens
Pure ultramarine, cerulean, viridian, emerald green
Capturing the reflections in the canal and the sky. Chase’s Impressionist approach requires high chroma to depict light (Source 3).
Warm Yellows and Oranges
Cadmium yellow, ochre, raw sienna
Sunlit areas and reflections on buildings. These colors contrast with the cool blues to create vibrancy (Source 7).
Neutral Grays and Browns
Payne’s gray, burnt umber, charcoal
Shadows and structural elements. Darkening colors by adding black can shift hues, so using complements or neutral tints is preferred to maintain hue integrity (Source 3).
composition
While specific compositional details of 'Reflections' are not described in the sources, Chase’s general practice involved arranging broad masses of color to create a harmonious whole. The artist should aim to harmonize colors that are essentially inherent to the nature of the objects, using the law of simultaneous contrast to ensure that adjacent colors enhance each other rather than clash (Source 7). The composition should avoid 'smallness' and instead focus on the overall effect of light and atmosphere (Source 6).
step by step
underdrawing→first pass→refining→finishing→varnishing
underdrawing
step 01
Lightly sketch the major forms: the horizon line, the canal, and the buildings. Avoid hard lines; use gentle strokes to indicate placement.
Tip — Do not become 'tied down to your outline' (Source 6).
Minimal underdrawing
first pass
step 02
Apply broad strokes of pastel to establish the major color masses. Focus on the sky and water reflections, using pure colors to capture the light.
Tip — Chase’s style is 'loosely brushed' (Source 4). Work quickly to capture the impression.
Broad massing
refining
step 03
Layer additional colors to enhance contrast and depth. Use the law of simultaneous contrast: place complementary colors adjacent to each other to intensify their appearance (Source 7).
Tip — Be aware that the eye may see colors inaccurately due to mixed contrast; take breaks to reset your vision (Source 7).
Simultaneous contrast
finishing
step 04
Add final highlights and shadows. Ensure that the lights are bright and the darks are rich, but avoid muddying colors by over-mixing. Use complements to darken colors without shifting hue (Source 3).
Tip — Adding black can shift hues; use complements for darkening (Source 3).
Color mixing
varnishing
step 05
Apply a light coat of fixative to preserve the work. Ensure the paper is dry and free from dampness to prevent staining (Source 1).
Tip — Moisture can cause sizing to ferment and decompose (Source 1).
Preservation
critical techniques
Simultaneous Contrast
Used to harmonize colors and perceive modifications of light. The artist must appreciate the color peculiar to each part and the modifications received from contiguous colors (Source 7).
Loose Brushwork
Chase’s Munich training emphasized a loosely brushed style, focusing on broad masses rather than detailed finish (Source 4).
Color Mixing
Avoid adding black to darken colors, as it shifts hue. Use complements to neutralize and darken without hue shift (Source 3).
common pitfalls
- →Over-mixing colors, which leads to muddiness and loss of chroma (Source 3).
- →Becoming too tied down to outlines, resulting in a stiff appearance (Source 6).
- →Ignoring the effects of simultaneous contrast, leading to disharmonious colors (Source 7).
- →Using damp or poorly sized paper, which can lead to staining and decomposition (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 'Reflections' (e.g., exact layout of buildings, specific color choices for this painting) are not described in the sources.
- ·Chase’s specific pastel techniques are not detailed; the guide infers from his general Impressionist style and Munich training.
- ·The exact palette used for this specific 1885 work is not provided; the guide suggests a typical Impressionist palette.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Science of Painting↗
- CHAPTER XIII. WATER COLOURS — applied to Surface preparation and preservation, emphasizing the importance of dry, well-sized paper (Source 1).
The Practice of Oil Painting↗
- ON COPYING — applied to Advice on avoiding rigid outlines and focusing on broad masses (Source 6).
Laws of Contrast of Colour↗
- 315. As to the advantages the painter will find in it — applied to Understanding simultaneous contrast and its effect on color perception (Source 7).
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Color mixing techniques, specifically avoiding black to darken colors and using complements (Source 3).
Wikipedia bio — William Merritt Chase↗
- William Merritt Chase — part 1 — applied to Artist’s style, noting his loosely brushed style and Munich training (Source 4).
Read more about the corpus on the sources page and how the guides are built on the methods page.
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