plate no. 9829

Riviergezicht Bij Deventer

oilBaroquelandscaperivertreesboatsskybuildingsfigures

what to study here

It shows how a narrow, warm value range and consistently soft edges can still produce depth and calm, with only the trees and boat as darker accents.

Study how little value range this painting uses and how much it gets out of it. The vision analysis reports a warm mid-tone family with no stark whites or blacks. Sky and water are the lightest areas and sit very close in value, separated mainly by small warm-cool shifts, with light coming from the left. Squint and it reads as three layers: pale upper atmosphere, mid-tone middle ground, and darker tree silhouettes. The tall poplar group on the right bank and the spires of the far town supply the verticals against broad horizontal bands of water and sky. The small reddish-brown boat in the foreground is the entry point, and the eye then crosses the calm water toward the trees. Edges are soft throughout. Trees are feathery strokes of mass rather than described branches, the water gets quiet horizontal marks, and the distant buildings dissolve with minimal edge definition. Practice holding that restraint: push the cools toward gray without losing the warm undertone, and keep the darkest accents in the trees and boat.

key decision

The painter compressed values into a warm mid-tone range, with sky and water nearly equal in lightness, and kept edges soft so distance comes from warm-cool shifts rather than contrast.

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)

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

Light streams from the left, warming the sky and water with golden cream tones while the atmosphere recedes into cooler, softer grays. The eye enters at the small reddish-brown boat in the immediate foreground, then travels across the calm mirror-like water toward the tall poplar trees on the right bank. Beyond them, a town with church spires sits on the far shore, rendered soft and distant. The composition is anchored by strong vertical elements—the tree group and building spires—while horizontal water and sky bands create calm, stable depth.

value structure

The painting compresses its value range into a warm mid-tone family with no stark whites or blacks. The sky and water are the lightest areas and sit very close in value, differentiated mainly by subtle warm-cool shifts. The tree masses provide the darkest accents, while buildings occupy a comfortable mid-light. When you squint, you see three simple layers: light upper atmosphere, mid-tone middle ground, and darker tree silhouettes. This restraint is the work's strength and its challenge.

observed palette and mixes

#c3b18e
Lead white + raw sienna + touch of ultramarine
Sky highlights, cloud undersides, brightest water reflections—the warm glow that reads as morning or golden afternoon light
#a99e86
Yellow ochre + lead white + raw umber
Building fronts, mid-tone foliage on right tree mass, general atmospheric wash
#9b8f78
Burnt sienna + raw sienna + touch of ultramarine blue
Warm golden-brown tree foliage, vegetation shadows, subtle warm undertones in water
#858b88
Ultramarine blue + raw umber + lead white
Cool-gray sky areas, distant water, atmospheric recession in buildings
#7e7661
Raw umber + burnt sienna + ultramarine
Mid-dark tree foliage, vegetation masses, water reflections of trees
#453625
Burnt umber + ultramarine blue + alizarin
Darkest tree trunks, boat shadow, deep water reflections, accent lines in figures

edges and brushwork

This entire work is soft-edged and diffuse—there are almost no hard transitions anywhere, which is the hallmark of atmospheric perspective. Trees are painted with feathery, loose horizontal and vertical strokes that suggest leafy mass rather than describe individual branches. Water is treated with calm, subtle horizontal marks that reinforce its glassy surface. Buildings dissolve into the distance with minimal edge definition. This softness is deliberate and requires confidence; resist the urge to sharpen anything.

a working sequence

01
Toned ground and atmospheric wash
Prime or tint your canvas with a warm mid-gray (mix from ultramarine, raw sienna, and white). Once dry, paint the entire sky broadly with loose, feathery strokes. Keep it pale and cool in the upper corners, then warm it toward the left with cream and yellow ochre touches. The sky should feel atmospheric, not uniform—let the brushstrokes suggest soft cloud forms without rendering them crisply.
02
Water foundation and reflection
Block in the water with a wash slightly darker and cooler than the sky. Use horizontal strokes and follow the sky's color logic—warmer cream tones on the left where light hits, cooler grays elsewhere. The water should mirror the sky subtly; reflections of clouds should be soft and downstream of their source. Keep the surface calm and glassy; avoid texture or obvious brushwork patterns.
03
Distant cityscape and atmospheric recession
Establish the far shore with soft, muted buildings and church spires. Use cool, grayish tones (ultramarine + raw umber + white) to suggest distance. The spires should be mere vertical accents, barely darker than the buildings around them. Place them where they meet the tree line on the right. Keep all edges soft; the entire distant city should feel like it's seen through atmospheric haze, not clearly defined.
04
Main tree mass on the right
Paint the tall poplar group with warm greens and golden-browns (mix raw sienna with ultramarine, then add white and dabs of yellow ochre for light foliage tips). Use vertical and slightly angled strokes to suggest the height and feathery foliage. The trees should have darker, brownish tones in their interiors and lighter, more golden tones at the outer edges where light catches them. Keep the top line ragged and natural, not a hard edge.
05
Left-bank vegetation and frame
Block in the lower left vegetation and the tree grouping on the left bank with warmer, slightly darker tones than the right trees (more burnt sienna, less bright yellow ochre). These trees frame the foreground and middle distance. The vegetation along the water's edge should be suggested with soft masses rather than detailed. Let these darker forms create a natural visual frame that draws the eye toward the boat and center distance.
06
Foreground boat, figures, and water accents
Paint the small boat in the lower left with warm dark red-brown and deep shadows. The figures inside should be indicated with minimal detail—small dabs of darker color to suggest silhouettes. Add a tiny shadow or reflection directly beneath the boat. Include the sailboat on the distant left water in very pale, soft tones; it should read as a simple vertical accent, barely darker than the water. These details establish scale and narrative without competing for attention.
07
Atmospheric glazes and final soft adjustments
Step back and assess depth. Where things feel too sharp or too dark, soften with a transparent glaze of pale warm gray (white + touch of yellow ochre + ultramarine, well thinned). Pay special attention to the edges where trees meet sky and water—these should be indistinct and atmospheric. Add final subtle reflections of trees in the water near the banks, keeping them soft and downstream. A final very thin glaze of warm cream over the entire painting can unify the atmospheric effect and warm the whole piece.

where studies of this painting go wrong

Rendering trees with hard edges or visible leaf detail—they must stay feathery and diffuse, or the whole atmospheric effect collapses.
Making the buildings and distant city too prominent or too dark—they should be gentle, almost absorbed into the landscape, not stand out as focal points.
Losing the warmth by using too much cool blue-gray—the whole painting has a warm, golden undertone even in the cooler areas. Cool colors here should have a touch of raw sienna or ochre mixed in.
Overworking the water reflections with visible ripples or patterns—keep the water surface glassy and calm, with only soft horizontal suggestions of reflection.
Creating a value contrast that's too strong—this painting's power comes from subtle mid-tone relationships, not dramatic light-dark separation. Resist the urge to go darker or lighter for impact.

measured difficulty