plate no. 6829

The City of Cologne, engraved by M.J. Starling after Leitch

oilRomanticismcityscapecityscapebuildingswaterfiguresboatssky

recreation guide

This recreation guide addresses the painting of 'The City of Cologne' by William Leighton Leitch (1850), a work executed in oil within the Romantic cityscape genre. Leitch was a master Scottish landscape artist whose practice was deeply rooted in the study of nature and the great masters, particularly J.M.W. Turner (Source 7). His works are characterized by graceful composition, pure color, and brilliant atmospheric effects (Source 7). While Leitch is primarily documented as a watercolorist and illustrator who served as Drawing Master to Queen Victoria (Source 8), this specific work is an oil painting, likely reflecting his broader training in scene-painting and his engagement with the 'Practice of Oil Painting' traditions of the era, which emphasized the vitality of the medium over mere illusionism (Source 5).

estimated time

40-60 hours over 8-12 sessions (allowing for drying times between glaze layers)

materials

4 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (White Lead, Ultramarine, Black, Yellow Ochre, Red Ochre)	Primary palette for underpainting and glazing, consistent with historical practices described in sources.	Titanium White (or Flake White for authenticity), Ultramarine Blue, Ivory Black, Yellow Ochre, Red Ochre
Oil of Copavia (or Linseed Oil)	Medium for the first and second paintings, as recommended by Sir Joshua Reynolds for establishing method.	Stand Oil or Linseed Oil
Varnish	Mixed with oil for later glazing stages to gain mastery and depth.	Dammar Varnish or Synthetic Resin Varnish
Canvas or Panel	Support for the oil painting.	Linen canvas primed with gesso

preparation

surface prep

Prepare a neutral ground. The sources suggest a method involving a monochrome underpainting (grisaille). The surface should be prepared to accept oil mediums. Leitch’s background in scene-painting and watercolor suggests a sensitivity to the support's texture, but for oil, a standard primed canvas is appropriate. The goal is to create a surface that allows for the 'vitality possessed by the medium' without tricking the eye into forgetting it is a painting (Source 5).

underdrawing

Leitch’s specific underdrawing techniques for oil are not explicitly detailed in the provided sources. However, as a master draughtsman and teacher (Source 8), he likely employed a precise initial layout. In the absence of specific evidence, use a light charcoal or thinned oil sketch to establish the 'graceful composition' characteristic of his work (Source 7). Do not overwork the drawing; it serves as a guide for the monochrome stage.

underpainting

Execute a grisaille (monochrome) underpainting using black, ultramarine, and white, mixed with oil of copavia (or linseed oil) as the medium (Source 1). This stage involves mentally extracting red and yellow colors, translating what would remain in nature if those colors were absent (Source 1). This establishes the tonal structure and chiaroscuro before color is introduced. This method aligns with the 'old masters' practice cited by Reynolds (Source 1).

color palette

White

White Lead (historical) or Titanium White

Highlights and mixing in the grisaille underpainting.

Ultramarine

Ultramarine Blue

Shadows and atmospheric depth in the grisaille; later for sky tones.

Black

Ivory Black or Lamp Black

Deep shadows and defining forms in the grisaille.

Yellow Ochre

Natural Yellow Ochre

Glazing and scumbling to introduce warmth and earth tones, consistent with the 'earths, ochres and marls' recommended for fixedness and covering (Source 4).

Red Ochre/Vermilion

Red Ochre or Cinnabar (Vermilion)

Glazing to reintroduce red tones extracted during the grisaille stage, enhancing the 'brilliant effects of atmosphere' (Source 7).

composition

Leitch’s works are marked by 'graceful composition' (Source 7). While specific compositional details of 'The City of Cologne' are not described in the sources, his general practice involved arranging elements into a coherent composition with attention to atmospheric effects (Source 7). The composition likely balances the architectural details of the city with the sky and weather elements, typical of Romantic landscape painting (Source 6). Avoid 'smallness' or being 'too much tied down to your outline' by focusing on broad masses first (Source 2).

step by step

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

underdrawing

step 01
Lightly sketch the main architectural forms and horizon line. Focus on the overall structure rather than fine details.
Tip — Ensure the composition reflects the 'graceful' balance characteristic of Leitch (Source 7).
Initial Layout

underpainting

step 02
Mix black, ultramarine, and white with oil of copavia. Paint the entire scene in monochrome (grisaille), establishing light and shadow without red or yellow hues.
Tip — Mentally extract red and yellow colors, focusing on the tonal values that would remain in their absence (Source 1).
Grisaille Underpainting

first pass

step 03
Allow the grisaille to dry completely. Begin glazing with transparent coats of color, starting with oil as the medium.
Tip — Apply yellow and red tones as they occur in nature, much like tinting an engraving with watercolors (Source 1).
Glazing

refining

step 04
Use scumbling (semi-opaque painting) over darker grounds to create coldness or grey blooms, allowing the underlying painting to show through.
Tip — This technique helps achieve the 'brilliant effects of atmosphere' noted in Leitch’s work (Source 7).
Scumbling

finishing

step 05
As mastery is gained, mix varnish with oil for subsequent glazes to deepen colors and enhance luminosity.
Tip — Ensure each layer is dry before applying the next to prevent muddiness.
Varnish Glazing

varnishing

step 06
Apply a final protective varnish once the painting is fully cured.
Tip — This protects the work and unifies the surface sheen.
Final Varnishing

critical techniques

Glazing and Scumbling

Glazing involves applying transparent coats of color, while scumbling uses semi-opaque paint over darker grounds. These techniques were practiced by old masters and are essential for achieving depth and atmospheric effects (Source 1).

Monochrome Underpainting (Grisaille)

Establishing the tonal structure using only black, ultramarine, and white before introducing color. This method helps in mentally separating value from hue (Source 1).

Atmospheric Perspective

Leitch’s work is noted for 'brilliant effects of atmosphere' (Source 7). This is achieved through careful modulation of tone and color, likely using the glazing techniques described.

common pitfalls

→Attempting to paint directly in color without a tonal underpainting, which can lead to muddy results and lack of structural integrity (Source 1).
→Over-modeling or being 'too much tied down to your outline,' which can result in a stiff, lifeless appearance. Leitch’s graceful style suggests a balance between detail and broad masses (Source 2).
→Ignoring the 'vitality of the medium' by trying to create a deceptive illusion of reality rather than expressing the artist's feeling through painted symbols (Source 5).
→Using colors that are not 'substantial' or fixed, leading to chemical reactions or fading. Earths and ochres are recommended for their stability (Source 4).

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 Cologne skyline as depicted in this particular 1850 work are not described in the sources, so the artist must rely on reference images of Cologne from that period.
·Leitch’s specific oil painting techniques are not detailed in the sources, which focus more on his watercolor work and general teaching. The guide infers oil techniques from contemporary practices (Reynolds, old masters) rather than Leitch’s direct oil manuals.
·The exact palette Leitch used for this specific oil painting is not recorded; the suggested palette is based on general historical practices and the sources provided.

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
- ON COPYING — applied to Advice on avoiding over-modeling and focusing on broad masses
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of using the medium’s vitality
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Selection of stable pigments like ochres and earths