plate no. 6317
Terrace, Prospect Park
William Merritt Chase, 1886
recreation guide
William Merritt Chase’s 'Terrace, Prospect Park' (1886) is a seminal work in his transition toward landscape painting, influenced by the landmark 1886 exhibition of French Impressionist works in New York (Source 8). The artwork is executed in pastel, a medium in which Chase was particularly fluent, allowing for the rapid capture of light and atmosphere characteristic of the Impressionist style (Source 8). Unlike oil paintings, pastels rely on the mechanical adhesion of dry pigment to a textured surface, requiring a specific approach to layering and opacity (Source 3). The piece likely reflects Chase’s interest in capturing the 'modifications of the light' and the 'subtle elusive tints' noted in contemporary reviews of his work, utilizing the immediacy of the medium to render the park’s scenery with a sense of vitality rather than strict topographical accuracy (Source 7, Source 8).
estimated time
10-15 hours over 3-4 sessions
materials
4 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Soft pastels (full set including earth tones, blues, greens, and whites) | Primary medium for applying pigment in a powdered state. | High-quality soft pastels (e.g., Sennelier, Holbein) with high pigment load. |
| Toothed paper or cardboard | Support with a rough natural surface to mechanically hold the dry pigment. | Sanded pastel paper or heavy-weight textured watercolor paper. |
| Fixative (optional, for transport only) | To prevent smudging between sessions, though final fixative may dull the vibrancy. | Workable fixative spray. |
| Blending stumps or fingers | To soften edges or mix colors directly on the paper. | Paper blending stumps or clean cotton gloves. |
preparation
surface prep
The support must have a rough natural surface or be prepared with a layer of pumice stone to ensure the powdered pigment adheres mechanically (Source 3). Chase likely used a sturdy paper or cardboard that could withstand the pressure of the pastel sticks without tearing. The surface should be dry and free from dampness, as moisture can cause sizing to ferment and decompose, leading to stains and loss of adhesion (Source 1).
underdrawing
Chase’s Impressionist style suggests a loose, rapid approach to drawing. There is no evidence of rigid, detailed underdrawing; instead, the composition was likely blocked in directly with pastel sticks to capture the immediate effect of light. The artist should avoid over-working the initial lines, as the goal is to express the 'vitality possessed by the medium' rather than create a deceptive illusion of reality (Source 4).
underpainting
Not applicable in the traditional oil sense. However, the artist may establish large areas of color and tone early on, similar to a wash, to set the atmospheric conditions. Pastel allows for building opacity from the start, so a distinct 'underpainting' layer is less critical than establishing the correct value structure early (Source 3).
color palette
Bright Greens and Yellows
Pure green and yellow pastels, possibly mixed with white for highlights.
Foliage and sunlit areas of the terrace, reflecting the 'subtle elusive tints' of nature (Source 8).
Blues and Purples
Cobalt blue, ultramarine, and violet pastels.
Shadows and sky, utilizing complementary contrast to enhance the vibrancy of adjacent greens and yellows (Source 6, Source 7).
Warm Earth Tones
Ochres, siennas, and umbers.
The terrace structure and shaded ground areas, providing structural contrast to the atmospheric sky (Source 8).
White
Pure white pastel.
Highlights and to lighten intense colors, leveraging the opacity of the medium (Source 3).
composition
Chase’s landscapes from this period often featured wide views with the sky prominently included, consistent with the tradition of landscape painting where weather and light are key elements (Source 5). The composition likely balances the architectural element of the terrace with the natural surroundings, avoiding strict topographical precision in favor of an impressionistic rendering of the scene (Source 8). The artist should focus on arranging elements into a coherent composition that emphasizes the play of light rather than detailed accuracy (Source 5).
step by step
underdrawing→first pass→refining→finishing
underdrawing
step 01
Lightly sketch the main compositional lines of the terrace and horizon using a neutral pastel or charcoal. Keep lines loose and gestural.
Tip — Do not press too hard; the tooth of the paper needs to remain intact for color application.
Contour drawing
first pass
step 02
Block in large areas of color, starting with the sky and background. Use broad strokes to establish the general tone and atmosphere.
Tip — Work from light to dark, reserving the brightest whites for later highlights.
Blocking in
refining
step 03
Build up mid-tones and shadows. Use complementary colors to create depth and contrast, such as placing purples next to yellows to enhance vibrancy.
Tip — Observe how adjacent colors modify each other; the eye may perceive tints resulting from the complementary of the neighboring color (Source 7).
Simultaneous contrast
step 04
Add details to the terrace and foliage. Use sharper edges for architectural elements and softer, blended strokes for leaves and sky.
Tip — Vary the pressure of the pastel stick to create different textures and opacities.
Edge control
finishing
step 05
Apply final highlights with white or light-colored pastels. Step back frequently to assess the overall harmony and balance of light.
Tip — Avoid over-blending, which can dull the vibrant, powdered quality of the pastel.
Highlighting
critical techniques
Mechanical Adhesion
Pastel pigment is applied in a powdered state and held on the support by mechanical means, requiring a rough surface (Source 3).
Simultaneous Contrast
Using complementary colors adjacent to each other to enhance vibrancy and perceive modifications of light accurately (Source 7).
Impressionist Brushwork (Pastel Strokes)
Rapid, loose application of color to capture the fleeting effects of light and atmosphere, consistent with Chase’s style in the late 1880s (Source 8).
common pitfalls
- →Over-blending the pastel, which can destroy the vibrant, textured quality of the medium and make the image look muddy (Source 3).
- →Using a smooth paper surface, which will not hold the powdered pigment effectively, leading to loss of color and detail (Source 3).
- →Ignoring the effects of simultaneous contrast, resulting in flat or inaccurate color relationships (Source 7).
- →Working in a damp environment, which can damage the paper’s sizing and cause staining (Source 1).
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 color choices for 'Terrace, Prospect Park' are not detailed in the sources; the palette is inferred from Chase’s general Impressionist practice and the subject matter.
- ·The exact dimensions and specific type of paper Chase used for this particular work are not provided.
- ·Detailed information on Chase’s specific underdrawing methods for pastels is lacking; the guide assumes a loose, direct approach consistent with his style.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Science of Painting↗
- CHAPTER XII. CRAYONS, DISTEMPERING, EGG-PAINTING, WATER — applied to Explanation of pastel as a powdered medium requiring mechanical adhesion and rough surfaces.
- CHAPTER XIII. WATER COLOURS — applied to Warnings about paper quality, sizing, and dampness affecting preservation.
Laws of Contrast of Colour↗
- 315-318 — applied to Technique of simultaneous contrast for color harmony and light perception.
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of using the medium’s vitality rather than seeking deceptive realism.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — William Merritt Chase↗
- part 4 — applied to Context of Chase’s Impressionist style, fluency in pastel, and landscape subjects in the 1880s.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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