plate no. 3663

The Bay of Naples early in the morning

oilRomanticismlandscapeseaskymountaincloudsfiguresship

what to study here

It shows how one dark silhouette against a glowing horizon, plus softening edges, can carry atmospheric depth in a dawn seascape.

The main lesson here is how a dark mass is placed against the brightest passage. The horizon band is the lightest area, nearly white cream shading to peach. Vesuvius is the single darkest shape, a near-silhouette that anchors the whole value structure. Squint and the picture reduces to a glowing band, a dark wedge, mid-tone sky and water, and small warm accents in the foreground figures. Study the sky as zones: cool deep blue at the top, pale blue-gray in the middle, warm cream at the horizon. Transitions look fluid and blended with little overworking. Edges soften with distance, so the mountain fades into haze instead of holding a crisp outline, while the foreground sand and figures are slightly firmer. The water is deep blue-green broken by white foam, with directional horizontal-to-diagonal strokes that follow the wave movement. Notice how the two small figures in reddish clothing give scale and a viewing position without drawing attention from the horizon. Copy the value map and edge progression before worrying about color mixes.

key decision

The painter kept the horizon as the lightest value and made Vesuvius the single darkest mass with soft, hazy edges. This sets up the whole value structure and the sense of early-morning light.

recreation guide

The Bay of Naples early in the morning (1897) is a quintessential example of Ivan Aivazovsky’s late-career style, characterized by what scholars describe as 'silver-toned seascapes' and 'blue marines' (Source 6). Created in the final two decades of his life, this work reflects a shift from the 'fantastic color' of his earlier Romantic epics to a more delicate, truthful vision of light and atmosphere (Source 6). As a master of marine art, Aivazovsky’s practice was highly academic yet deeply rooted in Romanticism, often depicting the struggle between man and the elements or the serene beauty of the sea (Source 4, Source 6). The painting likely utilizes the glazing and scumbling techniques common among old masters to achieve the luminous, transparent effects characteristic of his water depictions (Source 1).

estimated time

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

materials

7 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Linseed oil	Primary drying oil medium for mixing paints and glazes	Refined linseed oil
Oil of copavia	Historical medium mentioned by Reynolds for first and second paintings; provides a slow-drying, non-yellowing glaze	Gum turpentine or odorless mineral spirits mixed with linseed oil
Ultramarine	Key blue pigment for the 'blue marine' effect and sky/water depths	Ultramarine Blue (synthetic or natural)
Lead White (or Titanium White)	Dominant white pigment for opacity and highlights; historically Lead White was standard	Titanium White (for safety) or Flake White (for historical accuracy)
Black pigment	For creating shadows and neutral tones in the grisaille underpainting	Ivory Black or Mars Black
Red and Yellow pigments	Used in transparent glazes to introduce warmth and color without muddying the underpainting	Alizarin Crimson, Cadmium Yellow, or transparent organic reds/yellows
Canvas or Panel	Support for the oil painting	Linen canvas primed with gesso

preparation

surface prep

Prepare a rigid support (panel or stretched canvas) with a white or light-toned ground. Aivazovsky’s later works are noted for their delicate colors and silver tones, which benefit from a light ground to enhance luminosity. While specific ground recipes for this exact painting are not detailed in the sources, the general practice of the period involved preparing a sound, smooth surface to allow for the fine glazing techniques described in Source 1.

underdrawing

Aivazovsky’s preparatory methods are not explicitly detailed in the provided sources. However, as a 'highly academic' painter (Source 6), he likely employed a precise underdrawing to establish the composition’s coherence. The sources suggest that copying and study from nature were part of his training (Source 8), implying a disciplined approach to initial layout. For this recreation, use a light charcoal or thinned oil sketch to map the horizon, wave forms, and light sources.

underpainting

Create a monochrome underpainting (grisaille) using black, ultramarine, and white, mixed with oil of copavia or a similar medium (Source 1). This step involves 'mentally extracting the red and yellow colours' to establish the value structure and form without color interference (Source 1). This technique allows the artist to focus on the dramatic lighting and atmospheric perspective characteristic of Aivazovsky’s 'silver-toned' style (Source 6).

color palette

Ultramarine Blue

Pure ultramarine, potentially mixed with white for tints

The dominant 'blue marine' tones of the sea and sky, consistent with Aivazovsky’s late style (Source 6)

White

Lead White (historically) or Titanium White

Highlights, foam, and lightening values; essential for the 'silver-toned' effect (Source 6)

Black

Pure black

Shadows and depth in the grisaille underpainting (Source 1)

Red/Yellow Glazes

Transparent reds and yellows mixed with medium

Applying warm tones over the dry grisaille to simulate morning light and atmospheric warmth (Source 1)

composition

The composition likely features a wide view of the sea with the sky included, as is standard in landscape painting (Source 3). Aivazovsky’s later works often depicted 'delicate colors' and 'silver-toned seascapes' (Source 6), suggesting a focus on atmospheric unity rather than sharp, topographical detail. The arrangement should aim for a coherent composition where the elements (sea, sky, light) are balanced to evoke the Romantic spirit of the scene (Source 3, Source 6).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the basic composition, focusing on the horizon line and the major forms of the waves and sky. Ensure the layout is coherent, as landscape painting requires elements arranged into a unified whole (Source 3).
Tip — Keep lines light; this is a guide for the monochrome underpainting.
Contour drawing

underpainting

step 02
Mix black, ultramarine, and white with oil of copavia (or a modern equivalent) to create a grisaille. Paint the entire composition in monochrome, establishing all values and forms. This step extracts the red and yellow colors to focus on structure (Source 1).
Tip — Ensure the grisaille is completely dry before proceeding to glazing.
Grisaille

first pass

step 03
Apply transparent glazes of red and yellow tones over the dry grisaille. Use oil as a medium initially. This technique mimics tinting an engraving with watercolors, allowing the underlying monochrome to show through (Source 1).
Tip — Apply thin, transparent layers to build up color intensity without obscuring the value structure.
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to adjust tones, particularly in areas where a 'grey bloom' or coldness is desired over darker grounds (Source 1). Refine the 'delicate colors' characteristic of Aivazovsky’s late period (Source 6).
Tip — Scumbling tends to coldness; use it to enhance the silver/blue tones of the sea.
Scumbling

finishing

step 05
Add final highlights and details. Aivazovsky’s later works are noted for their delicate handling of light; ensure the 'silver-toned' quality is preserved by avoiding overly saturated, opaque colors (Source 6).
Tip — Use white sparingly to maintain the luminous, atmospheric effect.
Highlighting

varnishing

step 06
Once the painting is fully dry, apply a varnish to protect the surface and unify the gloss. This step is standard in oil painting practice.
Tip — Ensure the painting is completely dry to prevent trapping solvents.
Varnishing

critical techniques

Glazing

A transparent coat of color applied over a dry underpainting to modify hue and value while preserving the underlying form. Essential for achieving the luminous, atmospheric effects in Aivazovsky’s 'blue marines' (Source 1, Source 6).

Scumbling

A semi-opaque painting technique used over darker grounds to create coldness or a 'grey bloom.' Useful for rendering the silver tones and misty atmosphere of the early morning sea (Source 1).

Grisaille Underpainting

Establishing the composition in monochrome (black, ultramarine, white) before adding color. This allows for precise control of values and form, a method practiced by old masters and referenced in Reynolds’ technique (Source 1).

common pitfalls

→Applying glazes before the underpainting is completely dry, which can lead to muddying and cracking (Source 1).
→Using opaque colors too early, which obscures the luminous effect achieved through glazing and scumbling (Source 1).
→Over-saturating the colors, which contradicts the 'delicate' and 'silver-toned' nature of Aivazovsky’s late style (Source 6).
→Darkening colors by adding black, which can cause hue shifts (e.g., yellows shifting greenish); instead, use complementary colors or adjust brightness with white (Source 2).

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 pigment recipes used by Aivazovsky for this exact painting are not provided; the guide relies on general period practices and Reynolds’ methods.
·The exact compositional layout (e.g., position of the sun, specific wave patterns) is not described in the sources, so the artist must rely on visual reference or imagination consistent with the 'blue marine' style.
·Details about Aivazovsky’s specific brushwork or stroke direction are not included in the provided texts.

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, glazing, and scumbling techniques

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia bio — Ivan Aivazovsky↗
- part 7 — applied to Style description ('silver-toned seascapes', 'blue marines', 'delicate colors')
- part 1 — applied to Artist background and general style context
Wikipedia: Color theory↗
- part 6 — applied to Color mixing advice (avoiding hue shifts when darkening/lightening)
Wikipedia: Landscape painting↗
- part 1 — applied to General composition principles (coherent arrangement, inclusion of sky)

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

The scene captures dawn over the Bay of Naples with the sun low on the horizon, casting pale cream and pink light across a luminous sky. Mount Vesuvius dominates the left-center as a dark cone silhouetted against the bright sky, with steam rising from its peak. The eye travels first to the glowing horizon band, then up through the cool blue sky to the mountain, then down to the three-masted ship in the middle distance and finally to the two figures in reddish clothing on the foreground beach. The water churns with vigorous movement—deep blue-green waves broken by white foam—creating a strong sense of early morning light and atmospheric depth.

value structure

The brightest values cluster at the horizon and in cloud highlights—nearly white cream tones that read as direct sunlight. The mountain is the single darkest mass, a near-silhouette that anchors the composition. The sky moves through distinct zones: cool deep blue at the top, softening to pale blue-gray in the middle, then warm peachy and cream tones near the horizon. The water sits in mid-to-dark values (deep blue-green) except where white foam breaks it up. When you squint, you see a bright glowing horizon band, a dark mountain wedge, mid-tone sky and water, and small warm accents in the foreground figures.

observed palette and mixes

#e6e6e6
Titanium White with touches of Cadmium Yellow and Alizarin Crimson
Horizon line, brightest clouds, wave foam throughout the water
#bac6d8
Ultramarine Blue with Titanium White, leaning warm
Upper cloud masses and mid-sky areas where light diffuses through morning haze
#8ea7c2
Ultramarine Blue plus Titanium White with raw umber grey-down
Central sky and atmospheric middle-ground where color softens with distance
#59819c
Ultramarine Blue with Viridian Green and minimal white
The wave faces and deep water, creating the green-blue of moving sea
#768b95
Ultramarine Blue with Raw Umber and Titanium White
Shadowed portions of waves, atmospheric recession in mid-distance water
#3f534b
Ultramarine Blue, Viridian Green, and Raw Umber—cool and dark
Mount Vesuvius silhouette, deep shadows in foreground sand, darkest wave troughs

edges and brushwork

Edges soften throughout, especially receding into distance—the mountain fades into atmospheric haze rather than holding a crisp silhouette. The sky shows fluid, blended transitions between color zones, with little evidence of overworking. Water brushstrokes are directional and energetic, following wave movement and foam patterns with confident, horizontal to diagonal marks. The foreground sand and figures are slightly more defined than distant elements, but still painterly rather than detailed; this edge progression reinforces atmospheric depth.

a working sequence

01
Establish composition and value map
Lightly sketch the horizon line slightly above center, the mountain's cone rising from it, the ship's position in middle water, and the two figures on the beach. Block these in with thin paint, establishing where your brightest lights and darkest darks live. The mountain should feel like a clear dark wedge; the horizon should read as the brightest area.
02
Paint the sky and atmosphere
Start with deep Ultramarine blue at the top third, blending down into pale blue-gray, then warming toward cream and pale peach at the horizon. Work wet-into-wet so transitions are soft and hazy. The horizon band should be nearly as bright as your white can go—don't hold back. Let the sky sit for a moment while this establishes the light source and mood.
03
Define Mount Vesuvius and its atmosphere
Paint the mountain using a mix of Ultramarine, Raw Umber, and touches of Alizarin, keeping it dark and silhouetted against the bright sky. Add the steam plume rising from the peak using pale gray-blue (sky color with white). The mountain should read clearly but softly, fading into the atmospheric haze rather than having a hard edge.
04
Establish the water's deep movement
Block in the main water masses using Ultramarine and Viridian Green mixed together—this creates the characteristic blue-green of the sea. Keep wave faces and troughs distinct in value: lighter where light hits foam, darker in the shadow sides. Use directional, horizontal-to-diagonal strokes to suggest movement and current.
05
Add ship and distant sail
Place the three-masted ship in the middle distance using darker values so it reads against the brighter water. Keep it relatively simplified—a silhouette with masts suggested rather than rendered in detail. Add the small sailboat on the right in the same quiet manner. These should feel like they float naturally in the composition, not like added-on details.
06
Paint the foreground beach and figures
Using Raw Umber and a touch of Viridian for a warm dark, lay in the beach in the foreground. The two figures should be painted in warm reddish tones (Alizarin and Cadmium Yellow mixed into browns)—they're small but act as human scale anchors. Keep them loose; they're not portrait studies, just gestures that place the viewer on the shore.
07
Refine water foam and light effects
Using nearly pure Titanium White with the faintest touch of pale blue, add broken white strokes across the wave tops to suggest foam and light catching moving water. These strokes should follow the wave direction and intensity of light—more foam where light is strongest, less in shadowed troughs. This step brings the water alive.
08
Atmospheric unity and final adjustments
Step back and check that the atmospheric perspective reads—distant elements should feel hazier and cooler, foreground elements slightly warmer and more distinct. Soften any hard edges that don't belong. Ensure the horizon glows as your brightest area and the mountain remains clearly dark against it. Add final touches of highlight where needed, but resist overworking.

where studies of this painting go wrong

The horizon brightness is the key to the entire painting's mood—if you make it too dark or muddy, the luminous early-morning feeling evaporates. Keep it nearly as bright as titanium white allows, with only warm peachy undertones.
The mountain's silhouette must read clearly dark against the bright sky, but don't make it dead black or it will look like a cut-out. Let subtle variation and the misty steam plume at the peak give it dimension without breaking the silhouette.
The water's green-blue color comes from real mixing of Ultramarine and Viridian—not from slapping green paint on blue. Get this mix wrong and it reads as weird pond water instead of sea. Test on a scrap first.
The foreground figures are tiny but compositionally vital—they establish human scale and our viewing position. It's easy to either lose them entirely (make them too small or too close in value to the sand) or make them too prominent and fussy. Keep them simplified gestures in warm reddish tones.
Overworking the water with too many detailed brushstrokes makes it muddy and tight. Water in this painting feels alive because strokes are directional, confident, and respect the underlying form; don't fuss.

measured difficulty