The Andes of Ecuador

surface prep

The canvas should be primed with a traditional ground suitable for oil painting. While specific priming recipes for Church are not detailed in the sources, standard practice for the period involved preparing a smooth surface to allow for the 'hidden' brushstrokes characteristic of Church’s style (Source 3). The surface must be stable to support multiple layers of paint.

underdrawing

Church’s method consisted of creating paintings in his studio based on sketches made in nature (Source 2). The artist should begin by sketching the composition onto the canvas using charcoal or thinned paint (Source 5). The composition should reflect a composite of different climate zones, with mountains arranged along two converging lines and a strong horizontal plateau line, influenced by Humboldt’s observations (Source 1).

underpainting

Traditional oil painting techniques often begin with an underpainting or initial sketch using thinned paint (Source 5). Church likely employed a 'fat over lean' approach, where initial layers contain less oil and subsequent layers contain more, to ensure proper drying and prevent cracking (Source 5). The initial layers should establish the general massing of light and shade, particularly the strong sunlight that subordinates detail (Source 1).

Fat over Lean

Each additional layer of paint should contain more oil than the layer below to allow proper drying and prevent cracking. This is a basic rule of oil paint application.

Hidden Brushstrokes

Church usually 'hid' his brushstrokes so that the painting surface was smooth. The painter’s hand is evident by accuracy and control, rather than by conspicuous mark-making.

Composite Composition

Combining sketches from different locations and climate zones into a single idealized landscape, influenced by Humboldt’s scientific observations.

Luminism

Using strong, clear light to create a sense of stillness and sublimity, often subordinating detail to the overall atmospheric effect.