plate no. 9348
The Mock Turtle drew a long breath and said, 'That's very curious'
recreation guide
This artwork is an oil illustration by Arthur Rackham, executed in the Art Nouveau style. Rackham’s work is characterized by a distinct vitality that avoids mere photographic deception, instead using the medium to express emotional ideas through painted symbols (Source 1). The painting likely employs the 'fat over lean' principle to ensure structural integrity, where each subsequent layer contains more oil than the previous one to prevent cracking (Source 2). As an illustrator, Rackham’s approach emphasizes the expressive capacity of the brushstroke and the texture of the paint, rather than just the illusion of natural appearances (Source 1). The composition relies on strong contour lines to define form and mass, consistent with the importance of line in conveying three-dimensional perspective and volume (Source 5).
estimated time
20-30 hours over 5-7 sessions
materials
7 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (artist grade) | Primary medium for color application and texture | — |
| Linseed oil | Medium to thin paint and increase oil content in upper layers | Stand oil or refined linseed oil |
| Mineral spirits or turpentine | Solvent for thinning initial layers and cleaning brushes | Odorless mineral spirits |
| Canvas or panel | Support surface for the painting | Primed linen or cotton canvas |
| Charcoal or thinned paint | For initial sketching and underdrawing | Vine charcoal or diluted oil paint |
| Paintbrushes and palette knives | Application and manipulation of paint texture | — |
| Rags | Removing wet paint or blending | Lint-free cotton rags |
preparation
surface prep
The surface should be prepared to accept oil paint, likely involving a ground that allows for the 'vital qualities' of the medium to be expressed without the paint sinking in too deeply. While specific priming recipes for Rackham are not detailed in the sources, traditional oil painting requires a stable ground to support the layering process described in Source 2.
underdrawing
The artist likely began by sketching the subject onto the canvas using charcoal or thinned paint (Source 2). Given the illustrative nature of the work, contour drawing techniques would be essential to establish the outline and mass of the figures, emphasizing form and volume rather than minor details initially (Source 5).
underpainting
An initial layer of paint, likely 'lean' (mixed with more solvent than oil), would be applied to establish values and composition. This adheres to the 'fat over lean' rule, ensuring that subsequent layers with higher oil content dry properly without cracking (Source 2).
color palette
Earth tones and muted greens
Natural earth pigments mixed with linseed oil
General use in Rackham’s illustrative style, often depicting natural or fantastical settings
Flesh tones
Ochres, reds, and whites
Character skin, adhering to the fixed colors inherent to the model (Source 6)
Dark accents
Umbers and blacks
Defining contours and shadows, creating chiaroscuro effects (Source 6)
composition
The composition likely utilizes strong contour lines to define the figures, as line is a primary element of design that enables the eye to move within the piece (Source 8). Rackham’s style emphasizes the symbolic expression of the subject, so the arrangement of elements serves the emotional idea rather than strict naturalism (Source 1). The use of contrast in tone and color would be employed to create gradations of light and depth, enhancing the visual impact of the illustration (Source 6).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the composition using charcoal or thinned paint, focusing on the contour and mass of the figures.
Tip — Ensure the lines convey form and volume, not just outlines (Source 5).
Contour drawing
underpainting
step 02
Apply a lean initial layer of paint to establish basic colors and values.
Tip — Use more solvent than oil in this layer to ensure proper drying and adhesion (Source 2).
Fat over lean
first pass
step 03
Build up color in subsequent layers, increasing the oil content in each layer.
Tip — Each layer should contain more oil than the one below to prevent cracking (Source 2).
Layering
refining
step 04
Refine details and textures, using brushes or palette knives to manipulate the paint.
Tip — Use the vitality of the medium to express the emotional idea, avoiding mere deception (Source 1).
Texture application
finishing
step 05
Adjust contrasts and highlights, ensuring the colors interact optically to enhance luminosity.
Tip — Place contrasting colors close together to increase visual intensity (Source 6).
Simultaneous contrast
varnishing
step 06
Apply a varnish to protect the painting and unify the surface sheen.
Tip — Ensure the painting is completely dry before varnishing.
Varnishing
critical techniques
Fat over lean
Each layer of paint contains more oil than the previous one to ensure proper drying and prevent cracking (Source 2).
Contour drawing
Using lines to define the mass and volume of the subject, emphasizing form over minor details (Source 5).
Simultaneous contrast
Placing contrasting colors or tones next to each other to enhance visual intensity and create gradations of light (Source 6).
common pitfalls
- →Applying lean layers over fat layers, which can lead to cracking and peeling (Source 2).
- →Focusing too much on realistic deception rather than the expressive vitality of the medium (Source 1).
- →Ignoring the importance of contour in defining form and volume (Source 5).
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 pigments used by Rackham for this particular illustration are not detailed in the sources.
- ·The exact dimensions and support material (canvas vs. panel) for this specific work are not provided.
- ·Detailed information on Rackham’s specific glazing techniques or use of resins/waxes is not available in the provided sources.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Understanding the expressive role of oil paint and avoiding mere deception (Source 1)
The Science of Painting↗
- CHAPTER VL OILS, GRINDING OF COLOURS — applied to Context on oil painting materials and grinding colors (Source 3)
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints — applied to Principles of color contrast and simultaneous contrast (Source 6)
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- part 2 — applied to Techniques for underdrawing, layering, and the 'fat over lean' rule (Source 2)
Wikipedia: Contour drawing↗
- part 1 — applied to Importance of contour in defining form and volume (Source 5)
Wikipedia: Composition (visual arts)↗
- part 1 — applied to General principles of composition and elements of design (Source 8)
Read more about the corpus on the sources page and how the guides are built on the methods page.
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