plate no. 6547

The Schloss Kammer on the Attersee, III

Gustav Klimt, 1910

oil, canvasArt Nouveau (Modern)landscapebuildingtreeswaterlakereflectionlandscape

what to study here

It shows how a pale focal shape, held by dark flanking masses and a restrained water band, can organize a landscape using value and mark-making.

Look at how this landscape is organized by value before anything else. Squint and the vision analysis reads three zones: dark ivy masses on both sides, a pale building core between them, and a medium-value, cooler band of water below. The pale facade becomes the focal point because it is the lightest shape held between two dark flanks, and it shows only through gaps in the ivy. The red-tiled roof sits in the top third and anchors the upper edge. Study the ivy next. It is built from many small stippled dabs, so it reads as dense foliage at a distance but breaks into visible marks up close. The two ivy masses are not mirror images; their density and arrangement differ, which keeps the frame from going stiff. Then look at the water. It carries broken horizontal reflections of the ivy greens and wall creams instead of a clean mirror, and it stays cooler and quieter than the masses above it. The palette is muted and dusty, with narrow value steps, so the contrast comes from placement more than from saturation.

key decision

The painter framed the pale building with two dense, unequal ivy masses, letting it show only through gaps, so value contrast alone makes it the focal point. The water is kept cooler and mid-valued so it does not compete.

recreation guide

Gustav Klimt’s 'The Schloss Kammer on the Attersee, III' (1910) represents a departure from his famous 'Golden Phase' portraits, focusing instead on landscape within the Art Nouveau tradition. While Klimt is widely recognized for incorporating gold leaf and flat, decorative surfaces in his portraits of women and allegorical works (Source 2), his landscapes often exhibit a more naturalistic, though still stylized, approach to light and atmosphere. This work belongs to a series of landscapes painted during his summers, where he explored the interplay of light and color without the heavy ornamentation of his earlier period. The painting likely utilizes oil on canvas, adhering to traditional oil painting practices while maintaining the decorative flatness characteristic of the Vienna Secession movement.

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Yellow Ochre, Red Ochre, etc.)	Primary medium for underpainting and glazing	—
Canvas	Support surface	Linen or cotton canvas, primed
Oil of Copavia or Linseed Oil	Medium for mixing paints, as referenced in historical oil painting practices	Stand oil or refined linseed oil
Turpentine or Spike Oil	Thinner for initial layers and glazes to ensure a dull, non-shiny surface if aiming for mural-like flatness	Odorless mineral spirits or Gamsol
Varnish	For final glazing layers if following the 'varnish and oil mixed' technique	Dammar varnish or synthetic resin varnish

preparation

surface prep

The canvas should be prepared with a traditional oil ground. While Klimt’s specific ground preparation for landscapes is not detailed in the sources, general oil painting practice of the period involved a stable, absorbent ground. If aiming for the decorative flatness associated with Klimt’s broader oeuvre, one might consider a ground that allows for smooth glazing. The sources note that for mural-like decorations, a mat or dull surface is safeguarded by using little oil or wax and vehicles like petroleum or spike oil (Source 5).

underdrawing

Klimt’s preparatory methods for landscapes are not explicitly detailed in the provided sources. However, contour drawing is a foundational technique for establishing mass and volume (Source 6). It is likely that Klimt used a light underdrawing to establish the composition of the castle, water, and sky, focusing on the outline and major forms rather than minute details, consistent with the emphasis on 'great effects' in painting (Source 3).

underpainting

A grisaille (monochrome underpainting) is recommended, following the technique described in Source 1. This involves painting the composition in neutral tones (black, ultramarine, white) to establish values and forms. The source suggests mentally extracting red and yellow colors to create this base, which is then glazed with color later. This method was practiced by old masters and is applicable to Klimt’s oil technique (Source 1).

color palette

Ultramarine

Pure ultramarine blue

Sky and water reflections, consistent with the 'black, ultramarine, and white' initial palette mentioned in Source 1

White

Lead white or titanium white

Highlights and mixing with ultramarine for sky tones

Black

Ivory black or lamp black

Shadows and defining forms in the grisaille stage

Yellow Ochre

Natural earth pigment

Glazing over the grisaille to introduce warmth to the landscape, following the 'yellow and red tones' glazing technique (Source 1)

Red Ochre/Venetian Red

Iron oxide pigments

Glazing to add depth and warmth to the castle and foliage, as per the glazing instructions in Source 1

composition

The composition likely features the Schloss Kammer castle prominently, with the Attersee lake in the foreground and sky above. While specific compositional details are not described in the sources, landscape painting traditionally arranges natural scenery into a coherent composition, often including sky and weather elements (Source 4). Klimt’s approach to landscape may involve substituting true colors with neighboring scales to achieve harmony, as suggested by the principles of color contrast (Source 3).

step by step

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

underdrawing

step 01
Sketch the main forms of the castle, water, and sky using a light charcoal or thinned paint. Focus on the outline and mass of the subjects.
Tip — Ensure the proportions are correct, as this will guide the subsequent layers.
Contour drawing

underpainting

step 02
Apply a grisaille layer using black, ultramarine, and white mixed with oil of copavia or linseed oil. Establish the values and forms of the landscape without using red or yellow tones.
Tip — Mentally extract red and yellow colors to focus on value structure.
Grisaille

first pass

step 03
Allow the grisaille to dry completely. Then, begin glazing with transparent layers of yellow and red tones (e.g., yellow ochre, red ochre) mixed with oil or varnish.
Tip — Apply thin, transparent coats to build up color intensity without obscuring the underlying values.
Glazing

refining

step 04
Use scumbling (semi-opaque painting) over darker areas to create coldness or grey blooms, particularly in shadows or distant areas.
Tip — This technique allows the underlying painting to show through, creating depth and atmosphere.
Scumbling

finishing

step 05
Adjust colors and values as needed, ensuring harmony between the inherent colors of the landscape and the chosen palette. Pay attention to simultaneous contrast effects.
Tip — Use the law of simultaneous contrast to enhance the visual impact of adjacent colors.
Color harmony

varnishing

step 06
Apply a final varnish to protect the painting and unify the surface. If aiming for a dull finish, use a mat varnish or mix with spike oil as per mural painting techniques.
Tip — Ensure the surface is dull and non-reflective if following the decorative style.
Varnishing

critical techniques

Glazing

Applying transparent coats of color over a dry underpainting to build up luminosity and depth. This is a traditional oil painting technique referenced in Source 1.

Scumbling

Using semi-opaque paint over darker grounds to create coldness or grey blooms, enhancing atmospheric effects.

Simultaneous Contrast

Placing colors side by side to enhance their visual intensity and create harmony, as described in the laws of color contrast.

common pitfalls

→Applying glazes before the underpainting is completely dry, which can lead to muddiness and cracking.
→Using too much oil in the glazes, which can result in a shiny surface that detracts from the decorative flatness desired in Klimt’s style.
→Ignoring the principles of simultaneous contrast, leading to a lack of harmony in the color palette.

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 Klimt’s preparatory sketches for this particular landscape are not available in the sources.
·The exact pigments used by Klimt for this painting are not specified, so modern equivalents are suggested.
·The role of gold leaf in this specific landscape is not mentioned, as it is more characteristic of his portraits.

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 and glazing techniques
- A FEW WORDS ON MURAL PAINTING — applied to Surface finish and medium preparation
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints — applied to Color harmony and contrast principles

cross-referenced from

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

Wikipedia bio — Gustav Klimt↗
- part 7 — applied to Context on Klimt’s style and use of gold leaf
Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to General landscape composition
Wikipedia: Contour drawing↗
- Contour drawing — part 1 — applied to Underdrawing technique

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

A cream-colored manor fronts still water, its pale walls nearly consumed by dark ivy that frames the composition in two dense vertical masses on either side. The red-tiled roof anchors the top third, while the building's pale facade—glimpsed through gaps in the ivy—becomes the natural focal point because of its stark value contrast. Soft, diffused light suggests an overcast day, casting no hard shadows; the eye reads the building as a central light shape held between dark flanking masses. The water occupies the lower half and mirrors both the ivy's muted greens and the building's creams in broken, horizontal reflections rather than a perfect mirror.

value structure

The darkest values are the ivy and roof tiles (deep purplish-brown and rust-red), the mid-tones are the building walls and water (warm cream and cool brownish-grey), and the lightest accents are the pale patches where the building shows through. Squinting reveals three distinct value zones: dark ivy frame, light building core, and medium-value water base. The contrast is moderate but decisive—the building never competes with the ivy for darkness, yet the water remains visibly cooler and more restrained than either mass.

observed palette and mixes

#7d7468
Burnt sienna + raw umber + ultramarine blue
Roof tiles and deepest ivy shadows
#8c8372
Yellow ochre + titanium white + touch of ultramarine
Building walls and pale architectural details
#5f4b46
Sap green + ultramarine blue + burnt sienna
Darkest ivy masses and window openings
#686058
Ultramarine blue + raw umber + yellow ochre
Water and cool-toned reflections
#76655d
Sap green + burnt sienna + ultramarine
Mid-tone ivy, transitions between light and dark
#afa288
Yellow ochre + titanium white + touch of raw umber
Lightest building walls and highlights on pale surfaces

edges and brushwork

The ivy is built from countless small dabs and stippled marks in sizes 2–4 brushes, creating optical texture rather than smooth coverage—each mark visible at working distance but reading as dense ivy when viewed as a whole. The building walls have softer, sometimes fuzzy edges where they meet the ivy, achieved by dragging slightly damp color into adjacent areas. The water is rendered with horizontal streaking and small horizontal marks (sizes 4–6 brushes) to suggest reflection and stillness, avoiding both smoothness and chaos.

a working sequence

01
Underdrawing and value blocking
Lightly sketch the building's rectangular outline, the water line, the roof angle, and the major ivy masses' outer boundaries with raw umber thinned in linseed oil. Block in the three main value zones with thin washes: pale cream for the building, dark greenish-brown for the ivy, and cool grey-brown for the water. Don't worry about detail—this establishes the spatial scaffolding.
02
Roof and architectural framework
Paint the roof with burnt sienna + ultramarine to achieve a warm rust-brown, working horizontally. Use a flat brush (size 8) and keep the texture subtle. Define the building's upper edge crisply. Indicate window openings as dark shapes (darkest value, nearly black) using a size 2 brush—these anchor the viewer's reading of the facade.
03
Building walls and base tone
Paint the building's pale walls with yellow ochre + titanium white, applied with flat brushes (sizes 4–8) in soft, horizontal strokes. Leave slight value variations—warmer yellow on one side, cooler cream on the other—to suggest gentle modeling. The walls should feel luminous and simple, not flat. Don't worry if they look too bright; the ivy will subdue this.
04
Dark ivy foundation
Block in the major ivy masses with a dark, muted green-brown (sap green + ultramarine + burnt sienna) using flat and round brushes (sizes 4–6). Work the outer edges of the ivy areas first to define their silhouettes, then fill inward. The ivy on either side of the building should feel like two flanking curtains—notice on the left and right how the ivy density varies slightly.
05
Ivy texture and depth
Begin stippling and layering the ivy with size 2 and 4 round brushes, using small dabs of sap green, ultramarine, burnt sienna, and touches of yellow ochre to introduce color variation. Build in layers—each mark is a tiny leaf or tangle. The ivy on the left should lean slightly different from the right. Vary the greens between warmer (add yellow ochre) and cooler (add ultramarine); this prevents uniform monotony.
06
Water and reflections
Paint the water with ultramarine + raw umber + yellow ochre (cool but not pure blue), applied with horizontal marks using sizes 4–6 brushes. The reflections of the building and ivy should be muted and broken—streaks of pale cream (from the walls) and dark greenish-brown (from the ivy) appear as horizontal bands but remain indistinct. Keep the water surface lively with small directional marks; avoid smooth blending.
07
Refine ivy edges and soften transitions
Soften the boundaries where ivy meets the building's pale walls using a slightly damp brush to feather edges. Work carefully around windows and architectural details so the building remains readable. Add lighter, yellowish-green notes to the ivy in places to suggest light hitting leaf surfaces. The ivy should now feel three-dimensional and organic rather than flat.
08
Final integration and details
Step back and assess the balance. Add tiny pale accents to where the building shows through the ivy gaps; these breath spaces are essential to the composition. Refine window details with a size 2 brush if needed. Slightly darken the water's deepest shadows near the building's reflection. The entire painting should now feel unified—the dusty palette holds it together.

where studies of this painting go wrong

The ivy can become visually uniform and lifeless if you use the same green throughout—vary between warm (add yellow ochre), cool (add ultramarine), and purplish tones (add burnt sienna) so the eye finds micro-variations even in the dense areas.
Symmetry tempts overcontrol; resist perfect mirror-image ivy on both sides. The real painting shows the left and right masses as subtly different in density and arrangement—use this asymmetry to avoid stiffness.
The water reflections can easily become either a perfect mirror (which deadens the composition) or too chaotic. Keep reflection marks horizontal and muted, with clear value separation from the water's base tone.
The pale building's luminosity is fragile; if you accidentally contaminate the wall color with too much ivy green or brown during layering, the focal point collapses. Paint the ivy around the building rather than directly into it.

measured difficulty