The Square of the Fountain, Adrianople (after Leitch)

surface prep

Prepare a standard oil ground. While specific priming details for this exact work are not in the sources, traditional oil painting of this period typically involved a white or neutral ground to facilitate the 'fat over lean' rule and allow for transparent glazing (Source 5). Ensure the surface is smooth enough to support the fine atmospheric details characteristic of Leitch’s work.

underdrawing

Sketch the subject onto the canvas using charcoal or thinned paint (Source 5). Leitch’s background as a watercolorist and illustrator suggests a precise initial drawing, but the final oil work should not be overly rigid, allowing for the 'graceful composition' noted in his biography (Source 6).

underpainting

Create a monochrome underpainting (grisaille). Mentally extract the red and yellow colors from the scene, translating what would remain if those colors were absent (Source 1). This layer establishes the tonal values and forms without color interference. Use black, ultramarine, and white mixed with oil of copavia or linseed oil, as suggested by Sir Joshua Reynolds’ method cited in the sources (Source 1).

Glazing and Scumbling

Glazing involves applying transparent coats of color over a dry underpainting. Scumbling involves semi-opaque paint that allows the underlayer to show through, creating atmospheric effects like a 'grey bloom'. This method was practiced by old masters and is essential for achieving the 'pure colour' and 'brilliant effects of atmosphere' in Leitch’s work.

Monochrome Underpainting

Establishing values without color interference by excluding red and yellow tones initially. This allows for precise control over light and shadow before introducing chromatic complexity.

Fat over Lean

Each subsequent layer of paint must contain more oil than the previous layer to ensure proper drying and prevent cracking. This is a fundamental rule of oil painting technique.