plate no. 1851
THE LAKE OF CSORBA IN JUNE
Marianne Stokes, 1909
recreation guide
Marianne Stokes’s 'The Lake of Csorba in June' (1909) is a landscape painting executed in oil, reflecting the Impressionist style which emerged from the broader European tradition of landscape art that intensified interest in natural scenery and light (Source 3, Source 4). As a work from 1909, it likely employs traditional oil painting techniques where the artist sketches the subject onto the canvas before applying paint mixed with linseed oil or solvents to adjust drying times and consistency (Source 1, Source 5). The painting depicts a natural scene, consistent with the genre’s focus on wide views, sky, and weather elements arranged into a coherent composition (Source 3). While specific visual details of the lake’s surface or surrounding foliage are not described in the provided sources, the work adheres to the general practice of oil painting where layering follows the 'fat over lean' rule to ensure stability (Source 1, Source 5).
estimated time
20-30 hours over 5-7 sessions (allowing for drying time between layers)
materials
7 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (artist grade) | Primary medium for color application | — |
| Linseed oil | Medium to thin paint and increase oil content for 'fat over lean' layering | — |
| Mineral spirits or turpentine | Solvent to thin paint for initial layers, clean brushes, and remove wet paint if necessary | — |
| Canvas | Support surface for the painting | — |
| Charcoal or thinned paint | For initial sketching of the subject onto the canvas | — |
| Paintbrushes | Primary tool for transferring paint to the surface | — |
| Palette knives and rags | Alternative application methods and for scraping off paint or cleaning | — |
preparation
surface prep
The canvas should be prepared according to traditional standards. While specific priming methods for Stokes are not detailed in the sources, traditional oil painting begins with a prepared surface ready for sketching (Source 1, Source 5).
underdrawing
Begin by sketching the subject onto the canvas using charcoal or thinned paint, as is traditional in oil painting techniques (Source 1, Source 5). This establishes the composition of the landscape, including the lake, sky, and surrounding elements.
underpainting
Consider using a monochrome underpainting (grisaille) to establish values before applying color. This technique involves extracting red and yellow colors initially to focus on form and light, which can later be glazed over (Source 2). This is a traditional method used by old masters and can aid in achieving depth and translucency (Source 2).
color palette
General Landscape Tones
Oil paints mixed with linseed oil or solvents
General use in this artist's palette; specific hues for the lake and sky are not detailed in sources
Glazing Colors (Red/Yellow tones)
Transparent oil paints
Applied as glazes over a dry underpainting to add warmth and depth, similar to tinting an engraving (Source 2)
composition
The composition likely features a wide view of natural scenery, including the lake, sky, and possibly trees or distant land, arranged coherently (Source 3). Sky is almost always included in such landscape views, and weather may be an element of the composition (Source 3). Specific arrangements of elements are not described in the sources.
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the landscape composition onto the canvas using charcoal or thinned paint.
Tip — Ensure the main elements (lake, sky, horizon) are proportionally correct.
Traditional sketching
underpainting
step 02
Apply a monochrome underpainting (grisaille) to establish values, excluding red and yellow tones initially.
Tip — Focus on light and shadow without color distraction.
Grisaille
first pass
step 03
Once the underpainting is dry, begin applying color layers. Start with leaner layers (more solvent) if building up from the grisaille.
Tip — Ensure each subsequent layer has more oil than the previous one to prevent cracking.
Fat over lean
refining
step 04
Use glazing and scumbling techniques to add color and texture. Glaze with transparent coats of color, particularly red and yellow tones, over the dry underpainting.
Tip — Glazing adds depth; scumbling adds semi-opaque texture. Watch for coldness when scumbling over dark grounds.
Glazing and Scumbling
finishing
step 05
Adjust details using brushes, palette knives, or rags as needed. Oil paint remains wet longer, allowing for changes to color, texture, or form.
Tip — If a layer needs removal while wet, use a rag and turpentine; if dry, scrape with a palette knife.
Wet-on-wet adjustment
varnishing
step 06
Allow the painting to dry completely (up to two weeks) before applying varnish if desired.
Tip — Oil paint dries by oxidation, not evaporation.
Oxidation drying
critical techniques
Fat over Lean
Each additional layer of paint should contain more oil than the layer below to allow proper drying and prevent cracking.
Glazing
Applying a transparent coat of color over a dry underpainting to add depth and luminosity, particularly with red and yellow tones.
Scumbling
Applying semi-opaque paint over an underlying layer to create texture and allow the underpainting to show through.
common pitfalls
- →Applying lean layers over fat layers, which can cause the painting to crack and peel (Source 1).
- →Ignoring the drying time of oil paint, which dries by oxidation and can take up to two weeks to be dry to the touch (Source 1).
- →Over-modeling or being too tied to outlines, which can hinder the expressive capacity of the paint (Source 6).
- →Using scumbling over dark grounds without considering the potential for coldness in the tone (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 color palette used by Marianne Stokes for this particular painting.
- ·Detailed compositional layout of 'The Lake of Csorba in June' (e.g., position of trees, boats, or figures).
- ·Stokes's specific preference for brush types or canvas priming methods.
- ·Whether Stokes used a grisaille underpainting for this specific work, though it is a traditional technique.
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 Grisaille underpainting, glazing, and scumbling techniques (Source 2)
- ON COPYING — applied to General advice on avoiding over-modeling (Source 6)
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to Underdrawing, fat over lean rule, drying time, and tools (Source 1, Source 5)
Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to Genre characteristics, inclusion of sky and weather (Source 3)
- Landscape painting — part 7 — applied to Context of Impressionism and landscape tradition (Source 4)
Read more about the corpus on the sources page and how the guides are built on the methods page.
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