plate no. 7722

Santa Maria della Salute, Venice

oilRomanticismcityscapearchitecturewaterskybuildingsboatcityscape

recreation guide

This artwork is a cityscape depicting Santa Maria della Salute in Venice, falling within the genre of landscape painting which traditionally depicts the surface of the Earth, including urban landscapes (Source 1). As a Romantic-era work, it likely engages with the spiritual or atmospheric elements of the view, a trait that became explicit in Western landscape art during this period (Source 8). The composition likely adheres to principles of visual ordering, where elements such as line, shape, and value are organized to create a coherent whole rather than a mere pattern (Source 6). The painting serves as a topographical view, depicting a specific place with buildings prominently featured, which was a common practice for professional artists of the time (Source 8).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Linseed oil	Primary drying oil for mixing pigments and creating the paint film	Refined linseed oil
Oil paints (various pigments)	To create the color layers, including transparent glazes and semi-opaque scumbles	Tube oil paints
Varnish	To mix with oil for glazing and scumbling techniques, as practiced by old masters	Dammar or synthetic resin varnish
Canvas or linen support	The surface for the oil painting	Primed linen canvas

preparation

surface prep

Prepare a linen or canvas support, as linen is a traditional support for oil painting derived from the flax plant (Source 4). The surface should be primed to accept the oil layers. While specific ground preparation for Leitch is not detailed in the sources, the general practice of the period involved preparing a surface that could support the layering of glazes and scumbles (Source 2).

underdrawing

The sources do not specify Leitch’s underdrawing method. However, given the emphasis on line as a chief element of beauty in space arts, a careful initial drawing to establish the architectural forms of the cityscape is likely (Source 7). The underdrawing should define the boundaries of shapes and the interrelations of lines and spaces (Source 7).

underpainting

A grisaille (monochrome underpainting) is recommended, as this method was practised by old masters more generally than modern painters might imagine (Source 2). This involves mentally extracting red and yellow colors to establish the tonal values first (Source 2). This step is crucial for establishing the chiaroscuro and depth in the cityscape (Source 3).

color palette

Black

Black pigment

Establishing dark tones in the grisaille underpainting

Ultramarine

Ultramarine pigment

Establishing cool tones in the grisaille underpainting

White

White pigment (likely lead white historically, but modern equivalents like titanium white can be used with caution regarding drying time)

Establishing light tones in the grisaille underpainting

Yellow and Red tones

Yellow and red pigments

Glazing and scumbling over the dry grisaille to add color, similar to tinting an engraving

composition

The composition should avoid exact bisections of the picture space and ensure the horizon line does not divide the artwork into two equal parts (Source 5). The prominent subject, Santa Maria della Salute, should be off-centre unless a symmetrical composition is desired, and can be balanced by smaller satellite elements (Source 5). The direction of the viewer's eye should lead around all elements before leading out of the picture (Source 5). Use detailed areas and 'rest' areas to aid the eye, creating a contrast between detail and lack of detail (Source 5).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the architectural forms of Santa Maria della Salute and the surrounding cityscape, focusing on the harmony of combined lines and the spacing of shapes.
Tip — Ensure the composition avoids exact bisections and places the main subject off-centre for balance.
Line design

underpainting

step 02
Create a grisaille underpainting using black, ultramarine, and white mixed with oil of copavia or linseed oil. Establish the tonal values and chiaroscuro.
Tip — Mentally extract red and yellow colors to focus on the underlying structure and light/shadow relationships.
Grisaille

first pass

step 03
Allow the grisaille to dry completely. Then, apply transparent glazes of yellow and red tones using oil or a mix of varnish and oil.
Tip — Apply the glazes much as you would tint an engraving with watercolors, allowing the underlying painting to show through.
Glazing

refining

step 04
Use scumbling, a semi-opaque painting technique, to adjust tones and add texture. This can create a grey bloom when employed over a darker ground.
Tip — Be aware that scumbling over a darker ground tends to coldness, which can be used to create atmospheric effects in the cityscape.
Scumbling

finishing

step 05
Refine the details, ensuring that the contrast between light and dark areas produces a true gradation of light. Check that the composition leads the viewer's eye through the scene.
Tip — Ensure that small, high-contrast elements have as much impact as larger, duller elements to maintain visual interest.
Chiaroscuro

critical techniques

Glazing

A transparent coat of color applied over a dry underpainting to add depth and richness. This was a common practice among old masters (Source 2).

Scumbling

A semi-opaque painting technique where the underlying painting makes itself felt. It can create a grey bloom and is useful for adjusting tones (Source 2).

Chiaroscuro

The use of strong contrasts between light and dark to create a sense of volume and depth. This is produced by the juxtaposition of different tones (Source 3).

common pitfalls

→Applying glazes before the underpainting is completely dry, which can lead to muddiness.
→Ignoring the principles of composition, such as placing the horizon line in the exact center or bisecting the picture space.
→Overworking the scumbling, which can obscure the underlying structure and tonal values.
→Failing to establish a clear center of interest, causing the painting to become a mere pattern.

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 details about William Leighton Leitch's personal palette preferences or unique brushwork techniques are not provided in the sources.
·The exact year of the painting is not available, which limits the ability to pinpoint specific period conventions beyond general Romanticism.
·The sources do not describe the specific visual details of Santa Maria della Salute in this particular painting, such as the exact lighting conditions or weather depicted.

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 Glazing and scumbling techniques
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints — applied to Chiaroscuro and tonal gradation
Composition (visual arts)↗
- part 6 — applied to Compositional principles
- part 1 — applied to Elements of design
Composition↗
- I. LINE—NOTAN—COLOR — applied to Line and spacing