plate no. 9829

Riviergezicht Bij Deventer

oilBaroquelandscaperivertreesboatsskybuildingsfigures

recreation guide

This recreation guide focuses on the landscape painting *Riviergezicht Bij Deventer* (River View near Deventer) by Salomon van Ruysdael. While specific visual details of this particular canvas are not exhaustively described in the provided sources, the artist is identified as a leading figure in the 'classical' phase of Dutch landscape art, characterized by vigorous contrasts of solid form against the sky and light against shade (Source 3). Unlike his more famous nephew Jacob van Ruisdael, Salomon van Ruysdael is noted for his technical mastery in depicting water and atmospheric effects, a skill praised by early critics like Houbraken (Source 5). The painting likely adheres to the Baroque style's emphasis on dramatic lighting and coherent composition, where elements are arranged to guide the viewer’s eye through the scene (Source 6, Source 7).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Earth tones)	Primary pigments for the grisaille and subsequent glazing	Modern tube oils; historically, ultramarine was expensive lapis lazuli, now synthetic ultramarine is standard
Oil of Copavia (or modern linseed/walnut oil)	Medium for mixing paints, as cited in Reynolds' method for old masters	Linseed oil or Walnut oil
Varnish	Mixed with oil for glazing to achieve transparency and depth	Dammar varnish or modern painting medium
Canvas or Panel	Support for the oil painting	Primed linen canvas or wood panel

preparation

surface prep

The surface should be prepared to accept oil paints. While specific ground preparation for Salomon van Ruysdael is not detailed in the sources, the practice of the period and the cited method by Sir Joshua Reynolds (who admired Ruysdael's freshness) suggests a stable ground capable of supporting glazing techniques (Source 8). A neutral or warm-toned ground is often preferred in Baroque landscape painting to facilitate the tonal phase before color application.

underdrawing

The sources do not specify Salomon van Ruysdael's underdrawing technique. However, general landscape painting principles suggest that the composition should be planned to avoid exact bisections and to establish a center of interest (Source 7). The artist likely used a light sketch to define the 'vigorous contrasts of solid form against the sky' characteristic of his classical phase (Source 3).

underpainting

A grisaille (monochrome underpainting) is recommended, following the method cited by Sir Joshua Reynolds, which was practiced by old masters. This involves painting the initial layers with black, ultramarine, and white to establish values and forms before applying color glazes (Source 8). This technique allows for the 'tonal' phase of Dutch landscape art, where atmosphere is suggested through tonality (Source 3).

color palette

Ultramarine

Pure ultramarine

Sky and water reflections, consistent with the 'restricted palette' noted in similar dramatic sea-pieces by Ruysdael (Source 2)

White

Lead white or modern titanium white

Highlights, clouds, and foam on water, creating contrast against darker forms (Source 8)

Black

Ivory black or lamp black

Shadows and defining solid forms, used in the grisaille stage (Source 8)

Earth Tones (Brown/Yellow/Red)

Raw umber, yellow ochre, red ochre

Glazing and scumbling to add warmth and local color to trees, banks, and structures (Source 8)

composition

The composition should strive for a 'grandiose effect' typical of the classical phase, using vigorous contrasts of light and shade (Source 3). The horizon line should not divide the artwork in two equal parts; instead, it should be positioned to emphasize either the sky or the ground, likely showing more sky if the focus is on atmospheric clouds or more ground if the river and banks are the primary subject (Source 7). A center of interest, such as a tree, building, or specific water feature, should be off-center to balance the composition (Source 7). The viewer's eye should be led around all elements before exiting the picture (Source 7).

step by step

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

underdrawing

step 01
Sketch the composition lightly, ensuring the horizon is off-center and a focal point is established.
Tip — Avoid exact bisections of the picture space (Source 7).
Compositional planning

underpainting

step 02
Create a grisaille using black, ultramarine, and white mixed with oil of copavia (or linseed oil). Establish the values of the landscape, focusing on the contrast between solid forms and the sky.
Tip — This stage extracts red and yellow colors, translating what would be left in nature without them (Source 8).
Grisaille

first pass

step 03
Allow the grisaille to dry completely. Begin glazing with transparent coats of color, starting with yellow and red tones where they occur in the landscape.
Tip — Glazing is a transparent coat of color that allows the underlying painting to show through (Source 8).
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to add texture and coldness, particularly in shadows or atmospheric areas. This technique allows the underlying grisaille to make itself felt.
Tip — Scumbling over a darker ground tends to coldness, useful for creating a 'grey bloom' in atmospheric effects (Source 8).
Scumbling

finishing

step 05
Refine the contrasts of light against shade to achieve the 'vigorous' effect characteristic of Ruysdael's classical phase. Ensure the water and sky have the appropriate atmospheric realism.
Tip — Focus on the technical mastery of falling water and atmospheric effects, which were praised by early critics (Source 5).
Contrast enhancement

varnishing

step 06
Apply a final varnish to protect the painting and unify the glazes.
Tip — Ensure the painting is completely dry before varnishing.
Varnishing

critical techniques

Glazing and Scumbling

Used by old masters to build up color and atmosphere. Glazing adds transparent color, while scumbling adds semi-opaque texture, allowing the underpainting to influence the final appearance (Source 8).

Tonal Contrast

The classical phase of Dutch landscape art relied on vigorous contrasts of solid form against the sky and light against shade to create a grandiose effect (Source 3).

Compositional Balance

Avoiding exact bisections and placing the prominent subject off-center to create a balanced yet dynamic composition (Source 7).

common pitfalls

→Over-modeling or being too tied down to outlines, which can result in a stiff appearance. Copying works that encourage broader masses can help correct this (Source 1).
→Dividing the picture space equally with the horizon line, which can make the composition static. The horizon should emphasize either the sky or the ground (Source 7).
→Applying glazes before the underpainting is completely dry, which can muddy the colors and ruin the transparency effect (Source 8).
→Ignoring the 'tonal' phase, which is crucial for establishing atmosphere in Dutch landscape painting (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 visual details of *Riviergezicht Bij Deventer* (e.g., exact placement of trees, buildings, or figures) are not described in the sources, so the composition must be inferred from general principles.
·Salomon van Ruysdael's specific underdrawing materials (e.g., charcoal, chalk, ink) are not mentioned.
·The exact date of the painting is not available, so the specific stylistic evolution within his career cannot be pinpointed beyond the general 'classical' phase.
·The specific pigments used by Salomon van Ruysdael are not listed, though general old master practices are cited.

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 and glazing techniques (grisaille, glazing, scumbling)

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia bio — Salomon van Ruysdael↗
- part 8 — applied to Stylistic characteristics (classical phase, tonal contrast)
- part 5 — applied to Subject matter context (water mills, landscapes)
- part 7 — applied to Critical reception and technical mastery of water/atmosphere
Wikipedia: Composition (visual arts)↗
- part 6 — applied to Compositional rules (horizon line, center of interest)