plate no. 4241

St. Erasmus in Bishop Islips Chapel, Westminster Abbey

watercolor, paperRomanticisminteriorarchitectureinteriorcathedralarchescolumnsfigure

recreation guide

This artwork, 'St. Erasmus in Bishop Islips Chapel, Westminster Abbey,' is a watercolor interior by J.M.W. Turner, executed in the Romantic style. Turner’s approach to watercolor was revolutionary, moving beyond mere topographical recording to convey mood and atmospheric grandeur, influenced by his study under Dr. Monro and his engagement with the works of John Robert Cozens (Source 2). The medium itself, as defined in early 19th-century practice, involves a complex mixture of transparent washes and opaque body colors, utilizing gum-arabic as an agglutinative (Source 1). Turner is known for experimenting with a wide variety of pigments, often prioritizing immediate visual impact over longevity, which has led to significant fading in many of his works (Source 2).

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Linen rag watercolor paper	Primary support; must be free of cotton and chemical bleaches to prevent staining and color destruction	High-quality cold-pressed 100% cotton or linen rag paper (e.g., Arches or Saunders Waterford), though historically linen was preferred
Gum-arabic	Agglutinative medium to bind pigments to the paper	Pre-mixed tube watercolors or pan watercolors which already contain gum-arabic
Transparent watercolor pigments	For washes where the paper is reserved for lights	Standard transparent watercolor paints
Opaque body colors (white lead or zinc white)	For impastements and opacities, allowing for highlights and solid forms	Opaque watercolor or gouache; historically, white lead was common but toxic
Carmine and other fugitive pigments	Turner used these for their fresh appearance despite poor longevity	Modern permanent reds (e.g., Quinacridone) if longevity is desired, or historical Carmine Lake for authenticity

preparation

surface prep

The paper should be made from linen rags and bleached only by pure water, air, and sunshine, avoiding chlorine or chemical agents that burn the linen and destroy colors (Source 1). The sizing must be evenly distributed within the paste, not just on the surface, to prevent irregular sponginess and stains during prolonged work (Source 1). The paper must be completely dry and free from dampness to prevent fermentation of the sizing (Source 1).

underdrawing

Turner was disciplined in drawing under Dr. Monro, copying topographical draughtsmen to perfect his skills (Source 2). However, specific preparatory methods for this interior are not detailed in the sources. Generally, Turner’s watercolors often relied on the vitality of the medium rather than rigid preliminary sketches, focusing on conveying mood (Source 2). A light, flexible underdrawing is recommended to allow for the atmospheric effects characteristic of his style.

underpainting

In Turner’s watercolor practice, the 'underpainting' is effectively the initial transparent washes. The technique involves reserving the paper for lights, a method that became prominent in the early 19th century (Source 1). This layer establishes the atmospheric mood and spatial depth before opaque body colors are applied for solidity and highlights (Source 8).

color palette

Neutral tints / Camaieu

Burnt sienna, raw umber, or similar earth tones diluted with water

Initial washes and atmospheric effects, consistent with early watercolor sketches that confined themselves to neutral tints (Source 1)

Carmine

Carmine pigment

Vibrant reds, though Turner knew they were not long-lasting (Source 2)

Opaque Whites

White lead or zinc white ground with gum-arabic

Highlights and impastements, providing solidity and contrast to transparent washes (Source 1, Source 8)

General Palette

Wide variety of pigments

Turner experimented extensively, choosing materials that looked good when freshly applied rather than those with maximum durability (Source 2)

composition

The composition of an interior like this relies on the organization of visual elements such as line, shape, value, and space to create an illusion of depth and mood (Source 3, Source 5). Turner’s work is characterized by conveying mood instead of mere information, suggesting a focus on atmospheric effects and light rather than strict topographical accuracy (Source 2). The arrangement should aim for a balanced compositional unity, potentially using techniques like the rule of thirds to place key architectural features or the figure of St. Erasmus off-center to avoid bisecting the image (Source 5). The use of positive and negative space is crucial in creating the illusion of the chapel’s interior volume (Source 5).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Lightly sketch the architectural lines and the figure of St. Erasmus using a pencil or pen, focusing on the essential forms and spatial relationships.
Tip — Keep lines light to allow for correction and to avoid interfering with the transparency of subsequent washes.
Contour drawing

underpainting

step 02
Apply initial transparent washes using neutral tints to establish the general atmosphere and lighting. Reserve the paper for the brightest highlights.
Tip — Ensure the paper is properly sized and dry to prevent uneven absorption and staining (Source 1).
Transparent wash

first pass

step 03
Build up layers of transparent color to deepen shadows and define forms. Use the vitality of the watercolor medium to express the mood of the interior.
Tip — Allow each layer to dry completely before applying the next to maintain clarity and prevent muddiness.
Layering washes

refining

step 04
Introduce opaque body colors for highlights, impastements, and areas requiring solidity. Mix pigments with gum-arabic to achieve the desired opacity.
Tip — Balance transparency and opacity to create visual interest and depth, as Turner combined these styles (Source 1, Source 8).
Body color application

finishing

step 05
Add final details and adjustments, ensuring the composition conveys the intended atmospheric grandeur and mood.
Tip — Step back frequently to assess the overall balance and unity of the composition (Source 7).
Final detailing

critical techniques

Combination of Transparent and Opaque Media

Turner’s watercolors include impastements, opacities, and transparencies, mixing ancient missal painting techniques with modern washes (Source 1). This allows for a range of effects from delicate atmospheric washes to solid, opaque highlights.

Atmospheric Mood over Topographical Accuracy

Influenced by John Robert Cozens, Turner used watercolor to convey mood and solemn grandeur rather than just information (Source 2). This involves prioritizing light, shadow, and color harmony to evoke emotion.

Use of Fugitive Pigments

Turner used pigments like carmine despite their poor longevity, choosing materials that looked good when freshly applied (Source 2). This reflects his indifference to posterity in favor of immediate visual impact.

common pitfalls

→Using chemically bleached paper or paper with surface sizing only, which can lead to staining and irregular absorption (Source 1).
→Overworking the paper, which can wear out the surface sizing and expose the irregularly spongy interior, causing stains (Source 1).
→Attempting to achieve photographic realism rather than expressing the mood and atmosphere through the vitality of the medium (Source 4).
→Neglecting the compositional arrangement, leading to a lack of unity and balance in the final work (Source 7).
→Using pigments that are too durable at the expense of the fresh, vibrant appearance Turner sought, though this is a trade-off for longevity (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 details of the interior layout, such as the exact position of St. Erasmus, architectural features of Bishop Islips Chapel, and lighting conditions, are not described in the sources.
·The exact sequence of layers and specific pigments used in this particular artwork are not documented in the provided passages.
·Turner’s specific underdrawing technique for this piece is not detailed, only his general training in drawing is mentioned.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Science of Painting↗
- CHAPTER XIII. WATER COLOURS — applied to Paper preparation, sizing, and the combination of transparent and opaque techniques
- CHAPTER XII. CRAYONS, DISTEMPERING, EGG-PAINTING, WATER — applied to Details on body colors, transparency, and medium proportions
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Importance of medium vitality and avoiding mere deception
The Practice of Oil Painting↗
- COMPOSITION — applied to Necessity of training imaginative faculties and cultivating sense of arrangement

cross-referenced from

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

Wikipedia bio — J.M.W. Turner↗
- part 8 — applied to Turner’s artistic influences, use of fugitive pigments, and focus on mood over topography
Wikipedia: Composition (visual arts)↗
- part 1 and part 4 — applied to General principles of composition, space, and visual elements

Read more about the corpus on the sources page and how the guides are built on the methods page.

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