plate no. 2064

View from the Istana, Sarawak, Borneo

oilNaturalismlandscapefruitleavestreesriverlandscapefigures

recreation guide

Marianne North’s 'View from the Istana, Sarawak, Borneo' (1876) is a naturalistic landscape that reflects her documented practice as a botanical artist who traveled extensively to paint flora and scenery in situ (Source 8). Unlike Romantic painters who might exaggerate nature’s power or spiritual elements (Source 7), North’s work is characterized by topographical accuracy and detailed observation of specific places, consistent with the tradition of depicting actual, specific locations rather than imaginary vistas (Source 4). The painting likely employs the oil painting techniques common to the mid-19th century, utilizing drying oils like linseed oil to bind pigments (Source 1). While the specific visual details of the Istana are not described in the provided sources, the work fits within the genre of landscape painting where sky and weather are integral compositional elements (Source 4).

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Linseed oil	Primary drying oil for binding pigments, standard for general-purpose oil painting in the 19th century	Refined linseed oil
Oil paints (various pigments)	To create the naturalistic colors of the landscape and flora	Modern tube oil paints
Canvas or linen support	Traditional support for oil painting; linen is historically common	Primed linen canvas
Palette knife and brushes	For mixing paints and applying layers	Standard artist brushes and palette knives
Solvent (turpentine or odorless mineral spirits)	For thinning paint and cleaning brushes	Odorless mineral spirits

preparation

surface prep

The support is likely linen, a common fiber crop used for oil painting supports (Source 1). The surface would be prepared with a ground suitable for oil painting, likely a white or neutral tone to allow for the naturalistic color rendering characteristic of North’s botanical and landscape work. No specific ground preparation is detailed in the sources, but standard 19th-century practice involved sizing and priming the linen.

underdrawing

Marianne North’s preparatory methods are not explicitly described in the provided sources. However, as a naturalist and botanical artist, she likely employed a precise underdrawing to ensure topographical accuracy, consistent with the goal of depicting actual, specific places (Source 4).

underpainting

While not explicitly stated for North, the practice of using a monochrome underpainting (grisaille) before glazing was common among old masters and could be inferred as a technique available to her (Source 2). However, given her focus on botanical accuracy, she may have worked more directly. If an underpainting is used, it would establish the tonal values before color application.

color palette

Greens and Earth Tones

Natural pigments mixed with linseed oil

Depicting the flora and landscape of Sarawak, consistent with her botanical focus

Blues and Whites

Ultramarine and lead white (historically common)

Sky and atmospheric effects, as sky is almost always included in landscape views (Source 4)

Warm Tones (Yellows/Reds)

Yellow ochre, red ochre, or similar natural pigments

Sunlit areas and architectural details, if present

composition

The composition likely includes the sky as an important element, as is standard in landscape painting (Source 4). The view is topographical, aiming to depict the actual location of the Istana in Sarawak, rather than an imaginary scene (Source 4). The arrangement of elements would be coherent, with natural scenery such as trees and possibly buildings arranged to reflect the real view.

step by step

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

underdrawing

step 01
Sketch the composition on the prepared surface, focusing on accurate proportions of the landscape and any architectural elements.
Tip — Ensure accuracy to the real location, as North aimed for factual representation.
Topographical drawing

underpainting

step 02
Apply a thin layer of paint to establish tonal values, possibly using a grisaille technique if following old master practices.
Tip — Allow this layer to dry completely before proceeding.
Grisaille

first pass

step 03
Begin applying color in layers, starting with broader areas of sky and landscape.
Tip — Use linseed oil as a medium to manipulate paint characteristics (Source 1).
Layering

refining

step 04
Add details to the flora and landscape, paying attention to the naturalistic rendering of plants.
Tip — Observe the effects of light and color contrast, as described in the laws of contrast (Source 3).
Naturalism

finishing

step 05
Glaze and scumble to refine colors and tones, enhancing the depth and realism of the scene.
Tip — Use transparent coats of color for glazing and semi-opaque layers for scumbling (Source 2).
Glazing and Scumbling

varnishing

step 06
Apply a varnish to protect the painting and enhance the colors.
Tip — Ensure the painting is completely dry before varnishing.
Varnishing

critical techniques

Glazing

Applying a transparent coat of color to modify underlying tones, a technique used by old masters and potentially by North for depth (Source 2).

Scumbling

Using semi-opaque paint to create texture and light effects, particularly over darker grounds (Source 2).

Naturalistic Observation

Accurately depicting the flora and landscape as seen in nature, consistent with North’s botanical practice (Source 8).

common pitfalls

→Overworking the paint, which can muddy colors and lose the clarity of naturalistic details.
→Ignoring the laws of color contrast, leading to inaccurate color perception and application (Source 3).
→Using pigments that yellow over time, such as certain drying oils, which can alter the intended color balance (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 pigments used by Marianne North for this painting are not detailed in the sources.
·The exact underdrawing and underpainting techniques employed by North are not explicitly described.
·Visual details of the Istana and surrounding landscape are not provided in the sources, limiting specific compositional guidance.

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 Glazing and scumbling techniques
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Principles of color contrast and naturalistic rendering

cross-referenced from

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

Wikipedia: Oil painting↗
- part 4 — applied to Materials and techniques for oil painting, including drying oils and pigments
Wikipedia: Landscape painting↗
- part 1 — applied to Composition elements and topographical views
Wikipedia bio — Marianne North↗
- part 1 — applied to Artist’s background and practice as a botanical artist