Study for The Leaping Horse (View on the Stour)

surface prep

Constable worked directly on canvas for these oil sketches. While specific priming recipes for this exact study are not detailed in the sources, Constable’s practice involved painting directly from life in oils, suggesting a prepared surface capable of handling vigorous brushwork and potential scraping or reworking (Source 2, Source 8). The surface should be rigid enough to support the physical energy of the brushstrokes described as 'slashing' and 'vigorous' (Source 2, Source 8).

underdrawing

Constable’s oil sketches were often done directly from the subject in the open air, implying a minimal or non-existent formal underdrawing phase compared to his finished studio works. He sought to 'forget that I have ever seen a picture' when sketching from nature, prioritizing immediate observation over preparatory design (Source 8). Any drawing would likely be loose and integrated into the initial paint application rather than a distinct charcoal or graphite stage.

underpainting

Not explicitly described for this specific study. However, Constable’s technique involved building up layers of paint to create depth and light effects. The 'broken brushstrokes' and 'scumbling' mentioned suggest a layering process where lighter passages are established first or alongside darker tones, rather than a traditional monochromatic underpainting (Source 2).

Broken Brushstrokes

Constable used small, distinct touches of color to convey light and movement, avoiding blended smoothness. This technique creates a sparkling effect and captures the immediacy of the scene (Source 2).

Scumbling

Applying thin, semi-transparent layers of paint over lighter passages to modify tone and texture, enhancing the impression of light enveloping the landscape (Source 2).

Direct Observation

Painting directly from nature in oils, often in the open air, to capture the specific conditions of light, weather, and time of day. This was revolutionary at the time (Source 2, Source 8).