plate no. 6630
Schloss Kammer on the Attersee IV
Gustav Klimt, 1910
recreation guide
Schloss Kammer on the Attersee IV (1910) is a landscape by Gustav Klimt, created during a period when he had moved away from the heavy gold leaf application of his 'Golden Phase' toward a more naturalistic, though still highly stylized, treatment of nature. While Klimt is famously known for his portraits of women and allegorical works featuring flatness and decoration (Source 2), his landscapes from this era demonstrate a mastery of oil painting techniques that balance atmospheric depth with decorative surface quality. The work likely employs the principles of color contrast and chiaroscuro to create a coherent composition of natural scenery, including sky and weather elements, which are standard components of landscape art (Source 6).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Yellow, Red tones) | Primary medium for underpainting and glazing | — |
| Oil of Copavia or Linseed Oil | Medium for mixing paints, specifically for the first and second paintings as per Reynolds' method cited in sources | Stand oil or walnut oil |
| Canvas | Support for the oil painting | — |
| Varnish | Mixed with oil for later glazing stages to gain mastery over transparent coats | Dammar varnish |
| Turpentine or Spike Oil | Vehicle for ensuring a dull, mat surface if aiming for mural-like flatness, though less likely for this specific canvas work | Odorless mineral spirits |
preparation
surface prep
The canvas should be prepared to accept oil paint. While Klimt’s later decorative works sometimes utilized flat, unrelieved surfaces akin to mural painting (Source 7), this is a canvas landscape. The preparation should allow for the layering of glazes. If aiming for the 'mat or dull surface' characteristic of some of his decorative works, one might use vehicles with little oil or wax, such as petroleum or spike oil, to ensure the surface does not shine at any angle (Source 7). However, for a standard oil landscape, a traditional gesso ground is appropriate.
underdrawing
Sources do not explicitly describe Klimt’s underdrawing method for this specific landscape. However, general practice suggests a light sketch to establish the composition of the natural scenery, including the castle, water, and sky, ensuring the elements are arranged into a coherent composition (Source 6).
underpainting
The underpainting likely follows the method described by Sir Joshua Reynolds, which involves a grisaille (monochrome) preparation using black, ultramarine, and white mixed with oil of copavia (Source 1). This initial layer establishes the tonal values and chiaroscuro, mentally extracting red and yellow colors to translate what would be left in nature if those colors were not present (Source 1). This creates a foundation for the subsequent glazing of yellow and red tones.
color palette
Ultramarine
Pure pigment
Underpainting and sky tones, consistent with the grisaille method described
White
Lead white or Titanium white
Highlights and mixing in the grisaille underpainting
Black
Ivory black or Lamp black
Shadows and underpainting structure
Yellow and Red tones
Transparent glazes
Applied over the dry grisaille to tint the engraving-like underpainting, adding warmth and color to the landscape
composition
The composition likely features a wide view of natural scenery, including the castle, water, and sky, arranged coherently (Source 6). Klimt’s landscapes often balance the inherent colors of the subject with chosen colors for the sky and atmospheric effects, allowing for some artistic choice in the accidental effects and lighting (Source 3). The juxtaposition of different tones produces chiaroscuro, with the highest tone enfeebled and the lowest tone heightened at the line of juxtaposition, creating a true gradation of light (Source 3).
step by step
underpainting→first pass→refining→finishing
underpainting
step 01
Create a grisaille underpainting using black, ultramarine, and white mixed with oil of copavia. This establishes the tonal structure without red or yellow colors.
Tip — Mentally extract red and yellow colors to focus on the underlying structure and light.
Grisaille
first pass
step 02
Allow the grisaille to dry completely. Then, begin glazing with oil, applying transparent coats of yellow and red tones as they occur in the landscape.
Tip — Treat the glazing like tinting an engraving with watercolors, building up color gradually.
Glazing
refining
step 03
Use scumbling, a semi-opaque painting technique, over the glazes. When employed over a darker ground, this tends to coldness and can produce a grey bloom.
Tip — Ensure the underlying painting makes itself felt through the semi-opaque layer.
Scumbling
finishing
step 04
As mastery is gained, mix varnish with oil for further glazing to deepen the colors and unify the surface.
Tip — Be cautious of the prejudice against this method among modern painters, but recognize its use by old masters.
Varnish Glazing
step 05
Review the composition for color contrast. Ensure that juxtaposed colors of different tones produce the desired chiaroscuro effect, with light gradations at the boundaries.
Tip — Check that the colors inherent to the object (e.g., flesh, if figures were present, or natural tones of the landscape) are harmonized with chosen colors.
Simultaneous Contrast
critical techniques
Glazing and Scumbling
Glazing involves applying transparent coats of color over a dry underpainting. Scumbling involves semi-opaque painting that allows the underlying layer to show through. These techniques were practiced by old masters and are essential for achieving the depth and luminosity in Klimt’s work.
Chiaroscuro via Color Contrast
Using the juxtaposition of different tones of the same color or distinct colors to produce a gradation of light. The highest tone is enfeebled and the lowest heightened at the boundary, creating a naturalistic light effect.
Monochrome Underpainting
Starting with a grisaille using black, ultramarine, and white to establish form and value before adding color. This method separates the structural work from the color work.
common pitfalls
- →Attempting to mix all colors at once rather than separating the tonal underpainting from the color glazes, which can muddy the colors.
- →Ignoring the drying time of the grisaille, which must be 'quite dry' before glazing to prevent mixing with the underlayer.
- →Over-applying oil in the glazes, which can lead to a shiny surface that detracts from the desired mat finish, especially if aiming for a mural-like quality.
- →Failing to consider the simultaneous contrast of colors, leading to a lack of vibrancy and depth in the juxtaposed areas.
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 of the Schloss Kammer on the Attersee IV composition, such as the exact placement of the castle, trees, and water, are not described in the sources.
- ·Klimt’s specific palette for this landscape is not detailed; the sources only mention general pigments used in the grisaille method.
- ·The extent of gold leaf or decorative elements in this specific landscape is not confirmed, as the sources focus on his 'Golden Phase' portraits and allegories.
- ·Preparatory sketches or underdrawing techniques specific to this artwork are not documented in the provided sources.
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, glazing, and scumbling techniques
- A FEW WORDS ON MURAL PAINTING — applied to Surface finish and vehicle choices
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints of different tones of the same colour — applied to Chiaroscuro and color contrast principles
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Gustav Klimt↗
- part 7 — applied to Context of Klimt’s style and period
Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to General composition of landscape elements
Read more about the corpus on the sources page and how the guides are built on the methods page.
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