plate no. 6842
Terrace at the Mall, Cantral Park
William Merritt Chase, 1890
recreation guide
William Merritt Chase’s 'Terrace at the Mall, Central Park' (1890) is a quintessential example of American Impressionism, characterized by its plein-air execution and emphasis on the transient effects of light. Chase was known for his large-scale, energetic brushwork and his ability to capture the atmosphere of urban leisure spaces with a sense of immediacy. The work likely employs a high-key palette and loose handling to convey the dappled sunlight filtering through trees onto the terrace, consistent with the Impressionist goal of perceiving and imitating the modifications of light on the model promptly and surely (Source 2). The composition focuses on the interplay between the architectural elements of the terrace and the natural surroundings, reflecting the broader landscape tradition where sky and weather are integral to the composition (Source 4).
estimated time
20-30 hours over 5-7 sessions
materials
9 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Wood panel | Support for the painting, consistent with the artwork's medium | MDF or plywood panel primed with gesso |
| Oil paints | Primary medium for color application | High-quality tube oils (e.g., Winsor & Newton, Gamblin) |
| Raw umber | For setting the palette and initial underpainting, as advised for painting from life | Raw Umber oil paint |
| White pigment (softer white) | For mixing tints and highlights, specifically mentioned in painting instructions | Titanium White or Zinc White |
| Turpentine | Thinner for initial layers and cleaning brushes | Odorless mineral spirits or pure turpentine |
| Linseed oil | Medium to increase flow and gloss in later layers | Stand linseed oil or refined linseed oil |
| Charcoal | For initial drawing and shading, allowing for easy correction | Vine charcoal or compressed charcoal |
| Brushes | Various sizes for modeling and detailing | Hog bristle and synthetic brushes |
| Palette knife | For mixing paints and applying thick impasto if desired | Standard palette knives |
preparation
surface prep
The artwork is on a panel, which was a common support for Chase, especially for smaller, more intimate works or studies. The panel should be prepared with a ground that allows for the vibrant colors characteristic of Impressionism. While specific ground recipes for Chase are not detailed in the sources, the general practice of oil painting involves preparing the surface to accept the paint layers (Source 6). A white or light-toned ground is likely beneficial for capturing the high-key lighting effects typical of Impressionist landscapes.
underdrawing
Chase likely employed a loose, gestural underdrawing to establish the composition and proportions. The sources advise drawing and shading in charcoal, using a dry brush to model, and making corrections in this stage to avoid fatal errors in paint (Source 1). The underdrawing should focus on the mass and volume of the terrace and surrounding elements, rather than fine details, consistent with contour drawing techniques that emphasize form and space (Source 5).
underpainting
The underpainting should be set with raw umber and a softer white, using turpentine to thin the paint (Source 1). This initial layer establishes the tonal values and composition. The artist should paint with the idea of going over it at least three or four times, allowing for adjustments and refinements (Source 1). This approach helps in achieving the correct scale and proportion before applying more opaque colors.
color palette
Raw Umber
Raw Umber
Underpainting and setting the palette
White
Titanium or Zinc White
Highlights and mixing tints
Vibrant Greens
Viridian, Sap Green, Yellow Ochre
Foliage and shadows, capturing the modifications of light
Warm Earth Tones
Yellow Ochre, Burnt Sienna
Terrace and architectural elements
Sky Blues
Cerulean Blue, Ultramarine Blue
Sky and reflections
Complementary Colors
Reds and Greens, Blues and Oranges
Creating contrast and harmony, as per color theory principles
composition
The composition likely features a wide view of the terrace, with the sky included as an important element (Source 4). The arrangement of elements should create a coherent composition, with the terrace serving as the focal point. Chase’s style often included figures to provide scale and life to the scene, though specific details of figures in this painting are not described in the sources. The composition should balance the architectural lines of the terrace with the organic forms of the surrounding nature.
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the composition in charcoal, focusing on the mass and volume of the terrace and surrounding elements. Use a dry brush to model the forms.
Tip — Make all corrections in the charcoal stage to avoid errors in paint.
Contour drawing
underpainting
step 02
Set the palette with raw umber and white, using turpentine. Apply a thin layer of paint to establish the tonal values and composition.
Tip — Paint with the idea of going over it at least three or four times.
Underpainting
first pass
step 03
Begin applying colors, focusing on the large areas of light and shadow. Use broad, energetic brushstrokes to capture the atmosphere.
Tip — Perceive and imitate the modifications of light promptly and surely.
Impressionist brushwork
refining
step 04
Refine the details, paying attention to the color contrasts and harmonies. Use complementary colors to create visual tension and interest.
Tip — Be aware of simultaneous contrast and mixed contrast effects.
Color harmony
finishing
step 05
Add final touches and highlights. Ensure the composition is balanced and the lighting effects are convincing.
Tip — Avoid overworking the paint, which can lead to a muddy appearance.
Glazing and scumbling
varnishing
step 06
Apply a varnish to protect the painting and enhance the colors.
Tip — Use a varnish made from boiled oil and resin for protection and texture.
Varnishing
critical techniques
Simultaneous Contrast
Use complementary colors to enhance the vibrancy of adjacent colors, as per the law of simultaneous contrast of colors.
Mixed Contrast
Be aware of the eye's tendency to see the complementary of a previously viewed color, which can affect color perception.
Loose Brushwork
Apply paint with energetic, visible brushstrokes to capture the immediacy of the scene.
Layering
Build up the painting in multiple layers, allowing each layer to dry before applying the next.
common pitfalls
- →Putting down paint with obvious errors in construction or drawing, which can be fatal to lucidity (Source 1).
- →Overworking the paint, leading to a muddy or dull appearance.
- →Ignoring the effects of simultaneous and mixed contrast, resulting in inaccurate color perception.
- →Failing to capture the transient effects of light, which is central to the Impressionist style.
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 figures and their clothing in the painting are not described in the sources.
- ·Exact color mixes for specific areas of the painting are not provided.
- ·Chase’s specific varnishing practices are not detailed in the sources.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- PAINTING FROM LIFE — applied to Underdrawing, underpainting, and correction techniques
Laws of Contrast of Colour↗
- 315-318 — applied to Color theory and contrast effects
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Harmony (color)↗
- Harmony (color) — part 1 — applied to Color harmony and complementary colors
Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to Composition and landscape elements
Wikipedia: Contour drawing↗
- Contour drawing — part 1 — applied to Underdrawing techniques
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to Materials and varnishing
Read more about the corpus on the sources page and how the guides are built on the methods page.
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