Tavern with May Tree (detail)

surface prep

The surface should be prepared to accept oil paint, likely with a white or light-toned ground to facilitate the glazing techniques described. The preparation must allow for the 'vital qualities' of the medium to be expressed without attempting a deceptive illusion that ignores the materiality of the paint (Source 6).

underdrawing

While specific underdrawing techniques for van Ruysdael are not detailed in the sources, the general practice of the period involved careful planning of composition. The artist would likely have sketched the arrangement of figures and the may tree to establish the 'visual ordering' and 'formal structure' of the scene (Source 2).

underpainting

A monochrome underpainting (grisaille) is recommended, using black, ultramarine, and white to establish values and forms. This technique allows the artist to 'mentally extract' red and yellow colors, focusing on the structural integrity of the image before introducing color (Source 7). This approach is consistent with the methods of old masters who used glazing and scumbling over a dry preparation (Source 7).

Glazing

Applying transparent coats of color over a dry underpainting to build up depth and luminosity. This technique was widely practiced by old masters (Source 7).

Scumbling

Applying semi-opaque paint over a darker ground to create coldness or a grey bloom. This technique helps to integrate colors and create atmospheric effects (Source 7).

Monochrome underpainting

Using a limited palette (black, ultramarine, white) to establish values and forms before introducing color. This method allows for greater control over the final image (Source 7).