plate no. 8213

The Potato Patch, aka Garden Shinnecock

watercolorImpressionismlandscapefieldtreespathfigureplantssky

recreation guide

William Merritt Chase’s *The Potato Patch, aka Garden Shinnecock* (1893) is a watercolor landscape executed in the Impressionist style, reflecting his significant shift toward plein air painting during his tenure at the Shinnecock Hills Summer School of Art (Source 5). Unlike the detailed, idealized topographical views of the earlier Hudson River School, Chase’s approach to landscape was characterized by a 'noble sense of color' and an impressionist manner that captured the fleeting effects of light and atmosphere rather than strict botanical accuracy (Source 6). This work likely belongs to his series of summer landscapes at Shinnecock, where he frequently depicted the local environment, often including figures or domestic tranquility, though this specific piece focuses on the garden setting (Source 6).

estimated time

10-15 hours over 3-5 sessions

materials

4 items

steps

4 in sequence

materials

item	purpose	modern equivalent
High-quality watercolor paper	To support wet-on-wet techniques and prevent staining from irregular sizing.	100% cotton rag, cold-pressed, heavy weight (300gsm/140lb)
Watercolor paints (gum-arabic based)	To achieve the mixture of transparencies and opacities characteristic of Chase’s complex watercolor style.	Professional grade pan or tube watercolors
Brushes (various sizes)	For applying washes and potentially impastements if opaque body colors are used.	Natural hair brushes (sable) for washes; synthetic for detail
Opaque white (Gouache or Titanium White)	To create highlights and opacities, as Chase’s style included 'impastements, opacities, and transparencies' (Source 1).	Opaque watercolor or gouache

preparation

surface prep

Use paper made from linen rags or high-quality cotton, bleached by air and sunshine rather than chlorine, to avoid burning the fibers and destroying color integrity (Source 1). Ensure the paper is dry and has not suffered from dampness, which causes sizing to ferment and decompose, leading to stains (Source 1). The sizing should be evenly distributed within the paste, not just on the surface, to prevent the paper from becoming irregularly spongy during prolonged work (Source 1).

underdrawing

Chase’s Impressionist style suggests a loose, spontaneous approach. While specific preparatory methods for this watercolor are not detailed in the sources, his general practice involved capturing the 'elusive tints' and character of the scene quickly (Source 6). A light, minimal pencil sketch is recommended to establish the composition without interfering with the fluidity of the washes.

underpainting

In watercolor, the 'underpainting' is often the first wash. Chase’s technique involved a 'complex style' that mixed ancient opaque body-colors with washes (Source 1). Begin with transparent washes to establish the general tonal values and light areas, reserving the white of the paper for the brightest highlights, consistent with traditional watercolor practice described in Source 1.

color palette

Earthy Greens and Browns

Viridian, Sap Green, Burnt Umber, Raw Sienna

Depicting the potato patch and garden foliage, consistent with landscape painting traditions (Source 2).

Bright Highlights

Reserved paper white or opaque white

Capturing the 'elusive tints' and light effects characteristic of Impressionism (Source 6).

Sky Blues and Whites

Cerulean Blue, Ultramarine, White

The sky, which is 'almost always included in the view' in landscape painting (Source 2).

composition

The composition likely features a wide view of the garden, arranged into a coherent whole (Source 2). Chase’s landscapes at Shinnecock often included elements of domestic life or figures, but this specific title suggests a focus on the vegetation. The arrangement should reflect the 'Impressionist manner' Chase adopted for his Shinnecock series, emphasizing light and color over detailed topographical accuracy (Source 6).

step by step

underdrawing→first pass→refining→finishing

underdrawing

step 01
Lightly sketch the main forms of the potato plants and garden layout using a soft pencil. Avoid heavy lines that will show through the washes.
Tip — Keep lines minimal to maintain the spontaneity of the Impressionist style.
Preliminary sketch

first pass

step 02
Apply transparent washes to establish the sky and background. Use the 'wash in colours' technique, allowing the paper to remain reserved for lights (Source 1).
Tip — Ensure the paper is properly sized to prevent uneven absorption (Source 1).
Wet-on-wet wash

refining

step 03
Build up the foliage with layered washes, introducing 'opacities' and 'impastements' if necessary to capture the texture and density of the potato patch (Source 1).
Tip — Chase’s style included a mixture of transparent and opaque techniques, so do not hesitate to use body colors for darker, denser areas (Source 1).
Layering and opacity

finishing

step 04
Add final details and highlights. Use opaque white to lift or add bright spots, reflecting the 'complex style' of watercolor that Chase employed (Source 1).
Tip — Ensure the work is done in a 'substantial manner' to preserve the integrity of the colors (Source 1).
Opaque highlights

critical techniques

Mixture of Transparency and Opacity

Chase’s watercolor style was 'complex,' including 'impastements, opacities, and transparencies,' mixing ancient opaque body-colors with washes (Source 1).

Plein Air Impressionism

Chase adopted the plein air method, painting outdoors to capture the immediate effects of light and color, characteristic of his Shinnecock landscapes (Source 5, Source 6).

Reserved Lights

In traditional watercolor, the paper is reserved for the lights, a technique Chase likely employed in his washes (Source 1).

common pitfalls

→Using paper that has been bleached with chlorine or other chemical agents, which can burn the linen and destroy the colors (Source 1).
→Using paper with surface sizing only, which can wear out and cause stains as the inside becomes irregularly spongy (Source 1).
→Overworking the washes, losing the spontaneity and 'elusive tints' characteristic of Impressionism (Source 6).
→Ignoring the importance of proper paper storage, as dampness can cause sizing to ferment and decompose (Source 1).

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 in *The Potato Patch* is not detailed in the sources; general Impressionist and landscape conventions are inferred.
·Exact compositional layout of this specific painting is not described; general habits of Chase’s Shinnecock series are used.
·Specific brushwork techniques (e.g., dry brush, glazing) are not explicitly detailed for this work, though general watercolor techniques are provided.

grounded in

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

The Science of Painting↗
- CHAPTER XIII. WATER COLOURS — applied to Paper preparation, sizing, and the complex style of mixing transparencies and opacities.

cross-referenced from

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

Wikipedia bio — William Merritt Chase↗
- part 5 — applied to Chase’s adoption of plein air painting and his teaching at Shinnecock Hills.
- part 6 — applied to Chase’s Impressionist style, 'noble sense of color,' and landscape subjects at Shinnecock.
Wikipedia: Landscape painting↗
- part 2 — applied to General principles of landscape composition, including the inclusion of sky and coherent arrangement.