plate no. 7740
Set it first to thy lips
what to study here
It shows how a narrow warm palette and a three-zone value plan can build strong drama, with soft figure edges set against a gestural tree.
The useful lesson here is how three value zones carry the whole image. The background and twisted tree mass are near black with a warm undertone. The standing figure's dress sits at a warm mid-brown and reads as luminous against that dark. Faces, hands, the horn, the door and the ground are the lightest notes. Squint and the structure holds, and the eye enters at the figure's face and horn, then drops to the kneeling child. Look at the two edge strategies side by side. The faces and hands have controlled, blended edges with careful modeling, while the tree is worked in short, visible, sometimes scumbled strokes that give it movement. Thin dark lines, applied fluidly, define contours around the profile and the horn. Study how little local color is used: the observed palette is a narrow run of browns and ochres, so the drama comes from value and edge control, not hue. Copy the tree's directional marks before its detail.
key decision
Rackham compressed the image into three clear value zones, near-black tree and background, mid-brown dress, and pale figures, so the lit faces and horn dominate. He then separated blended figure edges from rough tree strokes.
recreation guide
This recreation guide focuses on the technical execution of an oil painting in the style of Arthur Rackham, specifically adhering to the Art Nouveau illustration tradition. While the specific visual content of 'Set it first to thy lips' is not detailed in the provided sources, the guide reconstructs the likely material process based on Rackham’s era and the specific oil painting techniques described in the sources. The approach emphasizes the layering of transparent glazes over a monochrome underpainting, a method historically associated with old masters and referenced in the sources as a way to achieve rich, dense color and flexibility (Source 3). The process avoids the 'soapy' surface often resulting from excessive oil use in direct painting, instead favoring the dry, absorbent qualities of turpentine-thinned initial layers to ensure subsequent glazes adhere properly (Source 2).
estimated time
20-30 hours over 5-7 sessions (allowing for drying times between glaze layers)
materials
5 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Linseed oil | Primary binder for oil paints; provides flexibility and rich color density. | Refined linseed oil |
| Spirits of turpentine | Thinner for initial layers to ensure fast drying and prevent a 'soapy' surface; allows subsequent layers to adhere without sinking unduly. | Gum turpentine or odorless mineral spirits |
| Oil of copavia | Historical medium mentioned by Sir Joshua Reynolds for first and second paintings; acts as a drying agent and binder. | Dammar varnish or stand oil (as a substitute for historical resins) |
| Palette of pigments | Includes two whites, yellow ochre, light red, vermilion, rose madder, cobalt, emerald, oxide of chromium, raw and burnt umber, and ivory black. | Standard oil paint set including Titanium White, Zinc White, Yellow Ochre, Cadmium Red Light, Quinacridone Rose, Cobalt Blue, Chromium Oxide Green, Raw Umber, Burnt Umber, Mars Black |
| Varnish | Mixed with oil for later glazing stages to gain mastery over transparent coats. | Artist's resin varnish (e.g., Dammar) |
preparation
surface prep
Prepare a rigid support such as a wood panel or primed canvas, consistent with the common use of these surfaces for oil painting in the Renaissance and subsequent centuries (Source 3). The surface should be smooth to allow for the fine detail characteristic of Rackham’s illustration style, though the sources do not specify the exact ground texture for this specific work. A neutral or toned ground is implied by the instruction to substitute 'toned colour for uncoloured tone' in direct painting comparisons (Source 2).
underdrawing
The sources do not explicitly describe Rackham’s underdrawing method for this specific piece. However, given the emphasis on 'glazing and scumbling' over a 'grisaille' (monochrome) preparation (Source 1), it is likely that a detailed underdrawing was executed in charcoal or thinned oil to establish the composition before the monochrome layer. The composition should consider the 'arresting power of the right angle' and the use of lines to direct attention to the center, avoiding drawing the eye to the corners (Source 7).
underpainting
Execute a grisaille (monochrome) underpainting using black, ultramarine, and white, potentially with oil of copavia as a medium, following the method established by Sir Joshua Reynolds (Source 1). This layer establishes the values and forms without color. The goal is to mentally extract red and yellow colors, translating what would be left in nature if these colors were not present (Source 1). Ensure this layer is completely dry before proceeding.
color palette
White
Two whites (likely Lead White and Zinc/Titanium White)
Highlights and mixing with other pigments for glazes.
Yellow Ochre
Pure pigment
General use in the palette; likely for earth tones and flesh undertones.
Vermilion / Light Red
Pure pigment
Glazing red tones over the grisaille, particularly for flesh or drapery.
Rose Madder
Pure pigment
Transparent red glazes for flesh tones, allowing the underlying grisaille to show through.
Cobalt / Emerald / Oxide of Chromium
Pure pigments
Green and blue tones for foliage or background elements, applied via glazing.
Raw and Burnt Umber
Pure pigments
Earth tones and shadows; burnt umber may be used for warmer shadows.
Ivory Black
Pure pigment
Deep shadows and defining lines in the grisaille stage.
composition
While specific visual details of 'Set it first to thy lips' are not provided, Rackham’s work typically employs strong linear elements. The composition should utilize lines to direct the spectator’s attention to the central subject, avoiding the corners of the rectangular format which naturally attract the eye due to the right angles (Source 7). The arrangement of abstract lines should underlie the expression, creating rhythmic force (Source 7). If the subject involves figures, consider the contrast of curved lines against angular forms, as seen in G.F. Watts’ 'Love and Death' (Source 7).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the composition on the prepared surface, ensuring lines direct the eye to the center and avoid the corners.
Tip — Use the 'arresting power of the right angle' to your advantage by filling corners with dark masses or sweeping lines (Source 7).
Compositional line work
underpainting
step 02
Apply a grisaille layer using black, ultramarine, and white. Use oil of copavia or a similar medium. Focus on values, mentally excluding red and yellow hues.
Tip — Ensure the layer is completely dry before proceeding to glazing (Source 1).
Grisaille
first pass
step 03
Begin glazing with transparent coats of color, starting with oil alone. Apply yellow and red tones as they occur in the design, similar to tinting an engraving with watercolors.
Tip — Glazing is a transparent coat of color that allows the underlying grisaille to influence the final hue (Source 1).
Glazing
refining
step 04
Introduce scumbling, a semi-opaque painting technique, to add texture and coldness where needed, particularly over darker grounds.
Tip — Scumbling allows the underlying painting to make itself felt, creating a 'grey bloom' effect (Source 1).
Scumbling
step 05
For flesh tones, if painting directly, use turpentine alone for the first painting to avoid a 'soapy' surface. Turpentine dries 'dead' and leaves the paint slightly absorbent.
Tip — Subsequent paintings with oil or varnish are less apt to sink unduly if the first layer is turpentine-based (Source 2).
Direct painting (a prima)
finishing
step 06
As mastery is gained, mix varnish with oil for final glazes to enhance depth and richness.
Tip — This method was practiced by old masters to achieve rich, dense color (Source 1, Source 3).
Varnish glazing
critical techniques
Glazing
Applying transparent coats of color over a dry monochrome underpainting to build up rich, luminous hues. This technique allows the underlying values to show through, creating depth.
Scumbling
Applying semi-opaque paint over a darker ground to create a 'grey bloom' or coldness, allowing the underlying layer to influence the final appearance.
Turpentine-based initial layers
Using turpentine alone for the first painting to ensure the surface dries 'dead' and remains slightly absorbent, preventing subsequent layers from sinking or becoming 'soapy'.
common pitfalls
- →Using too much oil in the initial layers, which can darken the color and render the surface 'soapy' after a few paintings (Source 2).
- →Applying glazes before the grisaille is completely dry, which can muddy the colors and ruin the transparency (Source 1).
- →Ignoring the compositional pull of the corners in a rectangular format, which can distract the viewer from the central subject (Source 7).
- →Failing to account for simultaneous contrast, where adjacent colors modify each other’s appearance, leading to inaccurate color perception (Source 6).
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.
- ·The specific subject matter and visual details of 'Set it first to thy lips' are not described in the sources, so the guide relies on general Rackham style and oil painting techniques.
- ·The exact proportions of oil to turpentine or varnish are not specified, requiring the artist to experiment based on the 'mastery' mentioned in Source 1.
- ·The specific pigments used by Rackham for this particular work are not listed, so the palette is inferred from general period practices and Source 2.
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 (grisaille), glazing, and scumbling techniques.
- CHAPTER XV PAINTING IN COLOUR DIRECT FROM LIFE — applied to Palette selection and the use of turpentine for initial layers.
The Practice and Science of Drawing↗
- ILLUSTRATING SOME OF THE LINES ON WHICH THE RHYTHMIC POWER OF THIS PICTURE DEPENDS — applied to Compositional principles regarding lines and corner avoidance.
Laws of Contrast of Colour↗
- Simultaneous contrast — applied to Understanding how adjacent colors affect perception.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to General advantages of oil painting and material properties.
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 label6 dominant colors, measured
what the eye sees
A standing figure in a rust-colored dress holds a horn to her lips with both hands in profile, facing right, illuminated from the left. Her pale, modeled face catches strong light. A small, pale child kneels on the ground to her right, gazing upward. Behind them rises a twisted, gnarled tree form with dramatically expressive, writhing branches rendered in deep dark browns and blacks. A wooden door with visible panels stands to the far right in lighter tones. The eye enters at the standing figure's face and horn, then travels down to the child, with the turbulent tree form creating dynamic energy throughout the composition.
value structure
Extreme value separation defines this painting: the background and tree mass are nearly black with warm undertones, creating a dramatic dark envelope. The standing figure's dress is a warm mid-brown that reads as luminous against the surrounding darkness. Faces and hands are rendered in pale, delicate tones with subtle modeling. When you squint, you see three clear value zones: very dark (background/tree), mid-dark (dress), and light (figures and architectural elements). This high-contrast structure is the painting's visual engine.
observed palette and mixes
#2f2219
Ivory black + burnt umber (mostly black with warm undertone)
Deepest shadows in the background, tree interior shadows, and left edge
#7d5e43
Burnt umber + raw sienna + white
Mid-tone shadows in the dress, structural details in the tree form
#5f402c
Burnt umber + raw sienna
Darker areas and fold shadows in the dress, tree mid-tones
#a3825d
Yellow ochre + raw sienna + white, warmed with cadmium red
Dress highlights and mid-tones, face shadows, tree highlights
#473224
Ivory black + burnt umber + touch of raw sienna
Darkest accents throughout, deep shadow edges
#c9aa7f
Yellow ochre + titanium white + touch of burnt sienna or cadmium red
Skin tones (face and hands), pale hair, light dress areas, wooden door, ground
edges and brushwork
Rackham employs two distinct edge strategies: the figures (especially faces and hands) have controlled, blended edges with careful modeling, while the tree form behind them shows expressive, gestural brushwork with visible short strokes that create movement and texture. Dark linear strokes (applied with fluid, ink-like confidence) define contours throughout, particularly around the figure's profile and the horn. The background tree is worked with energetic, sometimes scumbled marks that create visual turbulence; the more you look, the more you see distinct brushstrokes rather than smooth blending.
a working sequence
- 01
Establish proportions and composition
Lightly sketch the standing figure's profile, noting the angle of her head (tilted back slightly) and the horn rising vertically from her hands. Block in the child figure below and to the right, sitting or kneeling. Lightly indicate the tree form as a mass of twisted shapes rising behind them. Mark the door opening on the right edge. Work at proportional relationships, not exact measurements.
- 02
Lay in the dark background mass
Mix a very dark brown-black (ivory black + burnt umber) and block in the background and the entire tree form. Keep edges loose and sketchy at this stage. This dark mass should envelope most of the upper left and center, wrapping around the standing figure. Don't worry about tree details yet—establish the overall dark volume.
- 03
Block the figure values and dress color
Mix the warm mid-brown for the dress (burnt umber + raw sienna + a touch of cadmium red). Block this color onto the dress, following the major folds from shoulder down. Paint the skin tones (pale yellow ochre + white + touch of burnt sienna) on the face, neck, hands, and child's body. These lighter values will begin to push forward against the dark background.
- 04
Model the faces with subtle value shifts
Working wet-into-wet or on damp surfaces, add soft shadows to the standing figure's face using the pale ochre mixed with a touch of burnt umber. Note how light falls on her cheek and brow—the lit side is very pale, with shadows keeping her form rounded. Similarly model the child's small face, being careful not to overstate features at this stage. Keep transitions soft and luminous.
- 05
Develop the dress drapery
With the base color down, paint the fold shadows using darker browns (burnt umber + raw sienna + touch of black). Follow the drape structure: major folds run vertically from the shoulder, and secondary folds show how fabric gathers and falls. Use a slightly warmer mix (raw sienna + cadmium red + yellow ochre) for mid-tone highlights on the folds catching light. The dress should have visible sculptural form from light play alone.
- 06
Structure the twisted tree form
Begin clarifying the tree structure with bold, gestural marks. Use burnt umber + raw sienna for mid-tone branches and warm ochres for highlights where light catches raised forms. The tree doesn't follow botanical logic—it's organic and symbolic. Make short, expressive strokes that follow the twist and energy of each branch. The goal is readable complexity, not photographic detail.
- 07
Paint the horn and refine focal points
Render the horn as a light cream to pale tan (yellow ochre + white) with a thin dark line defining its edge. It should feel solid and substantial in her hands. Strengthen edges around the standing figure's profile and hands. Darken and refine the background tree shadows, pushing deepest darks (ivory black + touch of burnt umber) into crevices and negative spaces to increase contrast.
- 08
Integrate and refine the whole
Step back and check value relationships. The door should read as a middle-light value (pale ochre + white with linear details in darker brown). Ground and floor should be light tan to frame the figures. Add final dark accents and refine edges where figures meet background. Look for areas that feel isolated and tie them into the overall tonal harmony. A final pass with fluid, expressive dark marks in the tree will unify the composition.
where studies of this painting go wrong
- The tree form easily becomes chaotic rather than dynamic—resist the urge to add infinite detail. Its energy should come from directional brushwork and value shifts, not micro-details. Step back frequently to see the overall structure.
- The value contrast is extremely dramatic. It's tempting to lighten the background or darken the figures to make painting easier, but this compression flattens the image. Commit to the full range or the painting loses its visual power.
- The dress drapery requires understanding how fabric drapes from the body. Without a clear structure of main folds, the dress can look like a shapeless blob. Study how each fold originates at the figure's form and flows downward under gravity.
- Rackham's illustrative line work is subtle but essential. Avoid heavy outlines that make the image cartoonish, but don't omit them either. Use thin, confident dark lines to define edges, especially around hands, the horn, and the figure's profile.
measured difficulty
- beginner friendliness
- value contrast
- palette complexity
- compositional simplicity
- brushwork visibility
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