plate no. 1247

Salisbury Cathedral from Lower Marsh Close

oil, canvasRomanticismlandscapecathedraltreesskygrasslandscapearchitecture

recreation guide

Salisbury Cathedral from Lower Marsh Close (1820) is a landscape by John Constable that depicts the cathedral in Wiltshire from a specific vantage point, the Lower Marsh Close. This work is part of Constable’s broader engagement with the city, facilitated by his connection to the Bishop of Salisbury and his nephew John Fisher (Source 1). The painting exemplifies Constable’s Romantic approach to landscape, which prioritized direct observation of nature over imaginative composition. Constable famously stated that when sketching from nature, he tried to 'forget that I have ever seen a picture,' aiming to capture the distinctiveness of the moment rather than adhering to formulaic traditions (Source 2). The artwork reflects Constable’s revolutionary technique of using broken brushstrokes and small touches to convey the effects of light and movement, creating an impression of sparkling light enveloping the scene (Source 4). While this specific painting is a finished work, it likely benefited from Constable’s practice of creating full-scale preliminary oil sketches to test compositions, which were characterized by free and vigorous brushwork (Source 2). The painting stands as a testament to his belief that 'painting is but another word for feeling,' investing the landscape with an intensity of affection derived from his personal connection to the subject (Source 3).

estimated time

40-60 hours over 8-12 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (traditional palette)	Primary medium for the painting	High-quality artist-grade oils; historically likely included lead white, yellow ochre, raw umber, terre verte, and ultramarine or blue verditer
Canvas	Support for the painting	Linen canvas, primed with oil ground
Brushes (various sizes, including flat and filbert)	To apply broken brushstrokes and scumble	Natural bristle brushes for oils
Painting medium (linseed oil or similar)	To adjust viscosity and transparency for glazing/scumbling	Stand oil or linseed oil

preparation

surface prep

Constable typically worked on canvas. While specific priming details for this 1820 work are not explicitly detailed in the sources, the period convention and his general practice involved preparing a ground that could support his vigorous brushwork. He often used a white or light-toned ground to facilitate the optical mixing of colors and the depiction of light. The surface should be prepared to allow for the 'free and vigorous brushwork' characteristic of his sketches and finished works (Source 2).

underdrawing

Constable’s preparatory methods for finished works often involved full-scale oil sketches rather than detailed charcoal underdrawings. He used these sketches to test composition and capture the 'vigour and expressiveness' of the scene (Source 2). For this recreation, one should likely begin with a loose oil sketch or underpainting to establish the composition and tonal values, rather than a rigid linear drawing, consistent with his rebellion against traditional compositional formulas (Source 2).

underpainting

Constable’s technique involved building up the painting through layers. While he did not strictly adhere to a grisaille underpainting for all works, his method of 'scumbling' lighter passages over darker ones suggests a layered approach (Source 4). The underpainting should establish the basic forms and tonal structure, allowing for subsequent layers of broken color to create the effect of light.

color palette

Greens (various tones)

Terre verte, yellow ochre, lead white, and possibly blue

General use in this artist's palette; Constable was noted for his complex greens, which Delacroix admired (Source 5)

Whites and Light Grays

Lead white, mixed with earth tones

Highlights, clouds, and architectural details; used in broken touches to create sparkling light (Source 4)

Blues

Ultramarine or blue verditer

Sky and shadows; Constable paid meticulous attention to sky studies and meteorological conditions (Source 4)

Earth Tones (Umbers, Ochres)

Raw umber, burnt umber, yellow ochre

Ground, foliage shadows, and architectural masses

composition

The painting depicts Salisbury Cathedral from the Lower Marsh Close (Source 1). Constable’s compositional approach was driven by direct observation rather than idealized arrangement. He believed that 'no two days are alike, nor even two hours,' and sought to capture the specific atmospheric conditions of the moment (Source 2). The composition likely emphasizes the sky as 'the key note, the standard of scale, and the chief organ of sentiment' (Source 4). The cathedral is presented as a focal point within the landscape, but the overall effect is one of integrated natural and architectural elements, reflecting his investment of 'intensity of affection' in his subjects (Source 3).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the basic composition loosely on the canvas, focusing on the placement of the cathedral and the surrounding landscape. Avoid rigid lines; aim for a sense of movement and immediacy.
Tip — Remember Constable’s advice to 'forget that I have ever seen a picture' and focus on the natural scene (Source 2).
Direct observation sketching

underpainting

step 02
Apply a thin layer of paint to establish the major tonal values and forms. Use earth tones for the ground and darker areas, and lighter tones for the sky and highlights.
Tip — This layer serves as a foundation for the subsequent broken brushwork. It should not be overly detailed.
Tonal blocking

first pass

step 03
Begin applying color using broken brushstrokes. Focus on the sky first, as Constable considered it the 'chief organ of sentiment' (Source 4). Use small touches of color to suggest clouds and atmospheric effects.
Tip — Observe the direction of light and weather conditions, as Constable often annotated his studies with such details (Source 4).
Broken brushwork

refining

step 04
Build up the landscape and architectural details. Use scumbling techniques, applying semi-opaque lighter passages over darker ones to create the impression of sparkling light (Source 4).
Tip — Ensure that the brushwork remains vigorous and expressive, avoiding over-blending which would lose the vitality of the scene (Source 2).
Scumbling

finishing

step 05
Refine the details of the cathedral and the foreground. Add final highlights and adjust the balance of light and shadow. Ensure that the painting conveys the specific atmospheric conditions of the day it was observed.
Tip — Constable was never satisfied with following a formula; ensure the painting feels distinct and alive (Source 2).
Final adjustments

critical techniques

Broken Brushwork

Constable used small, distinct touches of color to convey the effects of light and movement, creating an impression of sparkling light enveloping the landscape (Source 4).

Scumbling

He scumbled lighter passages over darker ones to enhance the luminosity and texture of the scene, particularly in the sky and foliage (Source 4).

Direct Observation

Constable rebelled against using imagination to compose pictures, preferring to paint directly from nature to capture the uniqueness of each moment (Source 2).

common pitfalls

→Over-blending the paint, which would destroy the 'vigour and expressiveness' of the broken brushstrokes (Source 2).
→Relying on idealized compositions rather than direct observation, contrary to Constable’s method (Source 2).
→Neglecting the sky, which Constable considered the 'key note' and 'chief organ of sentiment' in a landscape (Source 4).
→Using a formulaic approach to color or composition, which Constable explicitly rejected (Source 2).

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 pigment analysis for this particular painting is not provided in the sources.
·Detailed information on the exact priming and sizing of the canvas for this work is not available.
·The specific weather conditions and time of day depicted in this painting are not described in the sources, though Constable generally recorded such details (Source 4).
·The exact sequence of layers for this specific finished work is not detailed, though his general practice of oil sketches and layering is known (Source 2, Source 4).

cross-referenced from

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

Wikipedia: Salisbury Cathedral from Lower Marsh Close↗
- part 1 — applied to Context, subject matter, and patronage details
Wikipedia bio — John Constable↗
- part 8 — applied to Philosophy of direct observation, rejection of formula, and use of oil sketches
- part 1 — applied to Biographical context and emotional investment in subjects
- part 9 — applied to Techniques of broken brushwork, scumbling, and sky studies
- part 5 — applied to Context of his exhibition history and critical reception