plate no. 9363

Tattercoats dancing while the gooseherd pipes

oilArt Nouveau (Modern)illustrationfiguresgeeselandscapetreeswaterfolklore

recreation guide

This recreation guide focuses on the technical execution of an Arthur Rackham-style oil painting, specifically addressing the medium's handling and compositional rhythm. While the specific visual details of 'Tattercoats dancing while the gooseherd pipes' are not described in the provided sources, the guide relies on Rackham’s documented association with Art Nouveau and illustration, combined with the oil painting techniques outlined in the sources. The process emphasizes the use of a monochrome underpainting (grisaille) to establish form, followed by the application of transparent glazes and semi-opaque scumbles to build color depth, a method attributed to old masters and discussed in the context of oil practice (Source 1). The composition likely utilizes rhythmic lines to create movement, avoiding static corners by directing the eye toward the center through curved or flame-like line structures (Source 3, Source 4).

estimated time

20-30 hours over 5-7 sessions (allowing for drying times between glaze layers)

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Linseed oil	Primary drying oil for mixing paints and creating glazes	Refined linseed oil
Oil of Copavia (or modern damar/resin medium)	Medium for the first and second paintings to ensure transparency and flow, as cited in Reynolds' method	Damar varnish mixed with odorless mineral spirits or linseed oil
Black, Ultramarine, and White pigments	For the initial monochrome underpainting (grisaille)	Ivory Black, Ultramarine Blue, Titanium White
Red and Yellow earth/transparent pigments	For glazing and scumbling to introduce color tones	Transparent Red Oxide, Yellow Ochre, or Cadmium Yellow Light
Canvas or Panel	Support for the oil painting	Primed linen canvas or wood panel

preparation

surface prep

Prepare a standard oil painting ground. While specific Rackham surface prep is not detailed in the sources, the technique described involves a dry grisaille underlayer, implying a stable, non-absorbent or moderately absorbent ground that allows for glazing. Ensure the surface is smooth enough to allow for the 'transparent coat of colour' (glazing) to sit evenly without excessive tooth that might break the glaze's continuity (Source 1).

underdrawing

The sources do not specify Rackham’s underdrawing method for this specific work. However, given the emphasis on 'rhythmic lines' and 'anatomy of compositions' in the sources, the underdrawing should focus on establishing the 'chief lines' of the figures and the 'flame-like flow' of movement (Source 3, Source 4). Use a light, non-oily medium (like charcoal or thinned paint) to map out the vertical and horizontal relationships and the curved lines that direct the eye away from the corners (Source 3).

underpainting

Execute a grisaille (monochrome) underpainting using black, ultramarine, and white mixed with oil of copavia (or a modern resin/oil medium). This step establishes the values and forms without color. The goal is to 'mentally extract the red and yellow colours' and translate what would be left in nature if those colors were absent (Source 1). This layer must be completely dry before proceeding.

color palette

Neutral Grays/Blues

Black, Ultramarine, White

Underpainting (grisaille) to establish form and value structure

Warm Earth Tones

Red and Yellow pigments (e.g., Red Oxide, Yellow Ochre)

Glazing and scumbling to introduce color, mimicking the 'tinting of an engraving with water-colours'

Cool Grays

Scumbled semi-opaque paint over darker ground

Creating 'grey bloom' and coldness in shadows or atmospheric areas

composition

The composition should avoid drawing attention to the corners of the rectangular canvas, as the 'arresting power of the right angle' at the corners can distract the viewer (Source 3). Instead, use dark masses or lines that 'swing round and carry the eye past them' toward the center of the picture (Source 3). Incorporate 'flame-like flow of lines'—curved lines meeting and parting—to create rhythmic vitality and movement, similar to the dynamic energy found in El Greco or Blake, which suits the 'dancing' subject matter (Source 4). Ensure the lines have an 'emotional significance' underlying the expression, even if hidden by natural appearance (Source 3).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the composition focusing on rhythmic lines. Identify the 'chief lines' of the figures and the background. Ensure lines direct the eye from the corners toward the center.
Tip — Avoid static right angles at the corners; use curved or swinging lines to neutralize them.
Line Rhythm Analysis

underpainting

step 02
Mix black, ultramarine, and white with oil of copavia (or modern equivalent). Paint the entire image in monochrome, focusing on value and form. Mentally exclude red and yellow hues.
Tip — Ensure this layer is completely dry before applying color. This is the foundation for the glazes.
Grisaille

first pass

step 03
Apply transparent glazes of red and yellow tones over the dry grisaille. Use oil as a medium. This mimics tinting an engraving with watercolors.
Tip — Glazing is a transparent coat of color. It allows the underlying monochrome to show through, creating depth.
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to adjust tones, particularly for cooler areas or 'grey blooms'. Scumble over darker grounds to create coldness.
Tip — Scumbling allows the underlying painting to make itself felt. Use it to soften edges or create atmospheric effects.
Scumbling

finishing

step 05
Continue layering glazes and scumbles, gaining mastery by mixing varnish and oil for subsequent layers. Adjust color harmony using simultaneous contrast principles.
Tip — Be aware that adjacent colors affect each other's appearance (simultaneous contrast). Adjust tones to harmonize the composition.
Layering Glazes/Scumbles

critical techniques

Glazing

Applying a transparent coat of color over a dry underpainting. This allows for rich, luminous color effects without muddying the underlying values. Essential for the 'old master' style referenced in the sources.

Scumbling

Applying a semi-opaque layer of paint over a dry layer. Used to create 'grey bloom' or coldness, especially over darker grounds. It allows the underlying texture and value to influence the final appearance.

Rhythmic Line Composition

Structuring the composition using curved, flame-like lines to create movement and direct the viewer's eye. Avoids static corners by using lines that swing toward the center.

common pitfalls

→Applying color before the grisaille is completely dry, which can lift the underpainting and muddy the glazes (Source 1).
→Ignoring the 'arresting power' of the corners, leading to a composition that feels trapped or unbalanced (Source 3).
→Over-modeling or becoming too tied to the outline, which can kill the rhythmic vitality of the lines (Source 2, Source 4).
→Using black to darken colors, which can cause hue shifts (e.g., yellows shifting greenish). Instead, use complementary colors to neutralize and darken without shifting hue (Source 5).
→Failing to account for simultaneous contrast, where adjacent colors alter each other's perceived tone and hue (Source 7).

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 visual details of 'Tattercoats dancing while the gooseherd pipes' (e.g., exact poses, clothing patterns, background elements) are not described in the sources and cannot be inferred without risking hallucination.
·Arthur Rackham's specific personal palette preferences are not detailed in the provided sources; the guide relies on general oil painting techniques and the 'old master' methods cited.
·The exact year of creation is not available, so period-specific material constraints (e.g., specific pigment availability) are inferred from general oil painting history rather than this specific work.
·Rackham's typical use of watercolor or ink in his illustrations is not covered by the oil painting sources provided, though the prompt specifies oil medium.

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
The Practice and Science of Drawing↗
- ILLUSTRATING SOME OF THE LINES ON WHICH THE RHYTHMIC POWER OF THIS PICTURE DEPENDS — applied to Composition notes, handling of corners, and line rhythm
- ILLUSTRATING SOME OF THE MAIN LINES ON WHICH THE RHYTHMIC UNITY OF THIS PICTURE DEPENDS — applied to Flame-like line flow and dynamic movement
Laws of Contrast of Colour↗
- 315-318 — applied to Simultaneous contrast and color harmony adjustments