plate no. 3491

The cathedral and square, Szatmar

Marianne Stokes, 1909

oilImpressionismcityscapecathedralsquaretreesbuildingsfigurescityscape

recreation guide

Marianne Stokes’s 'The cathedral and square, Szatmar' (1909) is an oil cityscape that reflects her transition from the rustic naturalism of her earlier French period to a more structured, atmospheric approach influenced by her travels in Hungary and the High Tatra (Source 4). While Stokes is often associated with the Newlyn School and Pre-Raphaelite influences, this work aligns with the Impressionist style noted in the artwork metadata, utilizing oil’s capacity for 'richer and denser color' and 'layers' to capture the light and geometry of the urban environment (Source 1). The painting likely employs the principles of simultaneous contrast to harmonize the inherent colors of the architecture with the atmospheric effects of the square, a technique Stokes would have understood through the broader Victorian and Post-Impressionist discourse on color theory prevalent during her career (Source 2, Source 3).

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Yellow Ochre, Vermilion)	Primary pigments for underpainting and glazing, consistent with Reynolds' method cited in historical practice and Stokes' oil medium.	Standard tube oil paints
Linseed oil or Poppy seed oil	Binder for pigments; linseed for general body, poppy for lighter tones to reduce yellowing.	Refined linseed oil, cold-pressed poppy oil
Turpentine	Thinner for initial washes and cleaning brushes.	Odorless mineral spirits or pure gum turpentine
Canvas or Wood Panel	Support for the oil painting.	Linen canvas primed with gesso
Varnish (optional, for final protection)	To protect the painting and unify the sheen, as oils develop specific sheens depending on the medium used.	Dammar varnish or synthetic resin varnish

preparation

surface prep

Prepare a rigid support such as a wood panel or tightly stretched canvas. Given the architectural subject matter, a smooth ground is preferable to allow for precise linear perspective, though Stokes’ Impressionist style may tolerate some texture. Prime with a traditional oil ground or modern acrylic gesso to ensure proper adhesion of the oil layers (Source 1).

underdrawing

Use a charcoal or thinned oil sketch to establish the linear perspective of the cathedral and square. Stokes’ background in academic training (Munich, Paris) suggests a strong foundation in draftsmanship, even if her final style is loose. The drawing should focus on the 'geometry' and 'proper rendering of perspective' typical of architectural cityscapes (Source 6).

underpainting

Employ a grisaille or monochrome underpainting using ultramarine, white, and black (or earth tones) to establish values and composition. This technique, described by Sir Joshua Reynolds and common among old masters, allows the artist to 'mentally extract' color to focus on form and light before applying transparent glazes (Source 8). This aligns with the 'layers' advantage of oil painting (Source 1).

color palette

Ultramarine

Pure ultramarine blue

Shadows and sky tones; part of the foundational monochrome palette (Source 8).

White

Lead white or Titanium white

Highlights and mixing tints; essential for the 'chiaro-scuro' effects (Source 2, Source 8).

Black

Ivory black or Lamp black

Deep shadows and defining architectural lines in the underpainting (Source 8).

Yellow/Red Tones

Yellow Ochre, Vermilion, or Cadmium Yellow

Glazing over the dry underpainting to introduce warmth and local color, particularly for stone facades and sunlight (Source 8).

composition

The composition likely emphasizes the geometric structure of the cathedral against the open space of the square. While specific details of this painting’s layout are not in the sources, Stokes’ work in Hungary focused on 'picturesque cottages' and cultural records, suggesting an attention to local architectural character (Source 4). The arrangement should utilize 'diagonal views' or strong axial lines to add drama, a technique noted in Dutch Golden Age cityscapes which influenced later European cityscape traditions (Source 6). The contrast between the solid architecture and the atmospheric sky should be managed through simultaneous contrast, where adjacent colors modify each other’s appearance (Source 3).

step by step

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

underdrawing

step 01
Sketch the cathedral and square with charcoal or thinned oil, focusing on accurate perspective and geometric forms.
Tip — Ensure the vanishing points are consistent to create a convincing architectural space.
Linear Perspective

underpainting

step 02
Apply a monochrome layer using ultramarine, white, and black to establish light and shadow values without color.
Tip — Let this layer dry completely before proceeding to avoid muddying the subsequent glazes.
Grisaille/Monochrome Underpainting

first pass

step 03
Begin applying transparent glazes of yellow and red tones over the dry underpainting to introduce local color.
Tip — Use oil as a medium to create a 'transparent coat of colour' that allows the underlying values to show through (Source 8).
Glazing

refining

step 04
Adjust colors based on simultaneous contrast; if a shadow next to a warm wall appears too cool, adjust the tint to reflect the complementary influence.
Tip — Remember that 'the lightest tone will be lowered, and the darkest tone will be heightened' by adjacent colors (Source 3).
Simultaneous Contrast

finishing

step 05
Add final highlights and textural details using thicker paint (impasto) if desired, contrasting with the smooth glazes.
Tip — Oil paint can be 'molded into different textures depending on its plasticity' (Source 1).
Impasto/Texture

varnishing

step 06
Once fully cured, apply a varnish to protect the surface and unify the sheen.
Tip — Varnish provides 'protection and texture' and can be made by boiling oil with resin (Source 1).
Varnishing

critical techniques

Glazing

Applying transparent layers of color over a dry underpainting to achieve depth and richness, a method practiced by old masters and described by Reynolds (Source 8).

Simultaneous Contrast

Adjusting colors based on their interaction with adjacent hues to create harmonious and realistic light effects, crucial for Impressionist cityscapes (Source 2, Source 3).

Layering

Utilizing the flexibility of oil paint to build up layers, allowing for a wider range from light to dark and richer color density (Source 1).

common pitfalls

→Applying wet glazes over wet underpainting, which can lead to muddiness and loss of clarity (Source 8).
→Ignoring simultaneous contrast, resulting in colors that appear flat or inaccurate because they do not account for the modifying influence of adjacent tones (Source 3).
→Overworking the paint, losing the 'spontaneous' effects of contrast that arise from careful juxtaposition (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 choices for this exact painting are not detailed in the sources; the palette is inferred from general oil painting practices and Stokes' era.
·The exact compositional layout of 'The cathedral and square, Szatmar' is not described in the provided texts, so the guide relies on general cityscape and architectural painting principles.
·Stokes' specific brushwork style for this 1909 work is not explicitly detailed, though her general transition to Impressionism is noted.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color harmony and chiaroscuro effects.
- 315. As to the advantages the painter will find in it... — applied to Simultaneous contrast and color perception.
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Grisaille underpainting and glazing techniques.

cross-referenced from

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

Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to Materials, layering advantages, and varnishing techniques.
Wikipedia bio — Marianne Stokes↗
- Marianne Stokes — part 1 — applied to Artist's background, style evolution, and subject matter context.
Wikipedia: Dutch Golden Age painting↗
- Dutch Golden Age painting — part 16 — applied to Architectural perspective and cityscape composition.