Trees on the Shore

surface prep

The canvas should be primed with a traditional oil ground to ensure proper adhesion. Munch’s practice involved working directly on the prepared surface, often leaving the texture of the canvas visible to contribute to the expressive quality of the work. The surface should be stable to support the layering of oil paint without cracking (Source 1).

underdrawing

Begin by sketching the subject onto the canvas using charcoal or thinned paint. This initial step establishes the composition of the shoreline and trees. Munch’s landscapes often feature broad, sweeping forms rather than rigid outlines, so the drawing should be loose and suggestive of the natural forms (Source 1, Source 7).

underpainting

Apply a lean underpainting using paint thinned with mineral spirits or turpentine. This layer should establish the basic tonal values and color masses of the sky, water, and trees. The 'fat over lean' rule dictates that this initial layer must contain less oil than subsequent layers to prevent cracking (Source 1, Source 7).

Fat over Lean

Each successive 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.

Simultaneous Contrast

Juxtaposing colors that are complementary or separated in the spectrum enhances their visual intensity. For example, placing blue next to orange makes the blue appear bluer and the orange more orange.

Expressive Materiality

Using the physical properties of oil paint—its translucency, body, and ability to hold brushstrokes—to convey emotion rather than to create a realistic illusion. The artist should not attempt to deceive the eye into seeing 'real nature' but rather express feeling through painted symbols.