plate no. 9217
The Red Roofs of Haarlem, aka A Street in Holland
William Merritt Chase, 1903
recreation guide
William Merritt Chase’s *The Red Roofs of Haarlem* (1903) is a quintessential example of his mature Impressionist landscape style, characterized by a 'noble sense of color' and loose, fluent brushwork (Source 2). Painted during a European summer tour with his students, the work reflects Chase’s exposure to Frans Hals in Haarlem, though the painting itself is a cityscape rather than a figure study (Source 2). The artwork exemplifies Chase’s ability to capture atmospheric effects and light through a palette that likely utilizes earth tones and substantial pigments, consistent with the advice to use colors that are 'substantial' and dry easily (Source 1). The composition relies on the principles of simultaneous contrast to create depth and luminosity without relying on rigid outlines, adhering to the Impressionist goal of rendering the 'soul' of the scene through color interaction rather than detailed topographical accuracy (Source 1, Source 3).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (White Lead or Titanium White, Yellow Ochre, Red Ochre, Vermilion/Cinnabar, Ultramarine/Indigo, Ivory Black) | Primary palette for mixing substantial, fixed tones as recommended for oil painting solidity. | Titanium White (safer alternative to White Lead), Cadmium Red/Yellow (if seeking high chroma, though earths are preferred for stability per Source 1) |
| Linseed oil or painting varnish | Medium to adjust transparency and drying time; Source 5 notes the importance of controlling oil quantity. | Stand Oil or Galkyd for modern alkyd mediums |
| Canvas sized with casein paste or traditional rabbit-skin glue | Provides a white, impervious ground that allows for correct judgment of color transparency and tone. | Pre-primed linen or cotton canvas with acrylic gesso |
| White palette (wood or glass) | Essential for accurate color mixing; Source 5 advises a white, oil-impermeable palette to keep tones light and prevent chemical absorption. | White ceramic or tempered glass palette |
| Brushes (flat and filbert) | For applying loose, fluent brushstrokes characteristic of Chase’s style. | Synthetic or natural bristle brushes |
preparation
surface prep
The canvas should be sized with a white ground, such as casein paste or a traditional size, to ensure it is 'quite impervious to oil' and provides a neutral, light base for judging tones (Source 5). This preparation helps maintain the 'perfect fixedness' and covering qualities of the pigments (Source 1).
underdrawing
Chase’s Impressionist style suggests a minimal or non-existent visible underdrawing. Source 5 notes that outlines can be done in oil or watercolor, but given Chase’s 'loosely brushed style' (Source 4) and the Impressionist emphasis on color over line, the artist likely sketched lightly in oil or directly with paint, avoiding hard lines that would contradict the 'simultaneous contrast' effects (Source 3).
underpainting
A thin wash of neutral tone or a direct alla prima approach is likely. Source 5 mentions that if a watercolor sketch is used, it should be sealed with varnish before oil application, but Chase’s fluency in oil suggests he may have worked directly in oil to capture the 'subtle elusive tints' (Source 2).
color palette
White
White Lead (historical) or Titanium White
Highlights and lightening tones; Source 1 lists 'Chalk white' and 'White lead' as foundational.
Yellow Ochre
Natural Yellow Ochre
Earth tones, shadows, and neutralizing mixes; Source 1 highlights its 'perfect fixedness' and utility for 'broken tones'.
Red Ochre/Vermilion
Red Ochre or Cinnabar (Vermilion)
The 'Red Roofs' and warm accents; Source 1 lists 'Red ochre' and 'Cinnabar' as substantial colors.
Blue
Indigo or Ultramarine
Sky and cool shadows; Source 1 lists 'Indigo' and 'Blue pulverised enamels'.
Black
Ivory Black or Vine Black
Deep shadows and contrast; Source 1 lists 'Various blacks prepared from the combustion of different bodies, e.g., ivory'.
composition
The composition likely utilizes the principle of 'simultaneous contrast' to create depth and luminosity, where juxtaposed colors enhance each other’s intensity (Source 3). Chase’s landscapes often feature a 'noble sense of color' with powerful rendering of masses (Source 2). The arrangement of roofs and sky would follow the 'law of contrast of colour' to produce chiaroscuro effects without relying on hard outlines (Source 3).
step by step
underdrawing→first pass→refining→finishing→surfaceprep
underdrawing
step 02
Lightly sketch the major forms of the roofs and sky using a thin mixture of oil paint or a watercolor wash sealed with varnish.
Tip — Avoid heavy lines; focus on the placement of masses to facilitate color contrast (Source 5, Source 3).
Outline in Oil or Watercolor
first pass
step 03
Apply broad, loose brushstrokes of substantial colors (ochres, reds, blues) to establish the main masses of the roofs and sky.
Tip — Use colors that are 'substantial' and dry easily to maintain the integrity of the painting (Source 1).
Alla Prima / Loose Brushwork
refining
step 04
Refine the edges and adjust tones by juxtaposing contrasting colors to enhance luminosity and depth, rather than blending smoothly.
Tip — Observe how placing a light tint next to a dark one enhances the gradation of light (Source 3).
Simultaneous Contrast
finishing
step 05
Add final highlights and deep shadows, ensuring the 'noble sense of color' is maintained without muddying the hues.
Tip — Avoid adding black to darken colors if it causes hue shifts; use complements instead (Source 6).
Color Harmony
surfaceprep
step 01
Prepare a white, oil-impermeable palette and ensure the canvas is properly sized with a white ground to allow for accurate color judgment.
Tip — Ensure the palette is clean and white to prevent color contamination and maintain lightness (Source 5).
Palette and Ground Preparation
critical techniques
Simultaneous Contrast
Juxtaposing colors to enhance their perceived intensity and create depth without blending, a key principle in Impressionism.
Use of Substantial Pigments
Selecting colors that are chemically stable and cover well, such as ochres and earths, to ensure the painting's longevity and visual clarity.
Loose Brushwork
Applying paint in fluent, visible strokes to capture the impression of light and atmosphere, characteristic of Chase’s style.
common pitfalls
- →Over-blending colors, which destroys the 'simultaneous contrast' effect and reduces luminosity (Source 3).
- →Using unstable or chemically reactive pigments that may change over time (Source 1).
- →Darkening colors with black, which can cause undesirable hue shifts toward green or blue (Source 6).
- →Neglecting the white ground of the canvas, which is essential for accurate color judgment (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 details of the roof colors and sky hues in *The Red Roofs of Haarlem* are not described in the sources, so the palette is inferred from general Impressionist practice and Chase’s known style.
- ·The exact composition and layout of the buildings are not detailed in the sources, requiring the artist to rely on reference images or imagination consistent with Chase’s cityscape style.
- ·Chase’s specific underdrawing technique for this particular work is not documented, so the guide assumes a minimal approach based on his general style.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Palette selection and pigment stability
- CHAPTER IX. OUTLINE AND EXECUTION OF A PICTURE IN OILS — applied to Surface preparation and palette hygiene
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color contrast and luminosity techniques
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — William Merritt Chase↗
- part 4 — applied to Style, subject matter, and inspiration
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Mixing techniques and avoiding hue shifts
Read more about the corpus on the sources page and how the guides are built on the methods page.
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