plate no. 3382

View of Amalfi

oil, canvasRomanticismlandscapeseabuildingsmountainsboatsfiguressky

recreation guide

View of Amalfi (1865) by Ivan Aivazovsky is a quintessential example of his Romantic marine landscape style, characterized by the dramatic interplay of light and water. Aivazovsky’s work from this period is noted for its 'epic and romantic' themes, utilizing a variety of colors to depict the struggle between man and the elements, specifically the sea (Source 2). While his later works shifted toward silver-toned seascapes, the mid-19th century pieces like this one retain a 'fantastic color' quality that transitions into a more truthful vision (Source 2). The painting likely employs the Romantic tradition of landscape art, which emphasizes wilder landscapes and atmospheric effects, drawing on influences from artists like Claude Lorrain and Salvator Rosa (Source 2, Source 4).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White Lead, Black, Yellow Ochre, Red Ochre)	Primary palette for underpainting and glazing	Titanium White, Ultramarine Blue, Ivory Black, Yellow Ochre, Red Ochre
Oil of Copavia (or modern linseed/stand oil)	Medium for the first and second paintings, as per Reynolds' method cited in historical practice	Stand Oil or Linseed Oil
Varnish	Mixed with oil for later glazing stages to gain mastery over transparent coats	Dammar Varnish or Synthetic Resin Varnish
Canvas	Support for the oil painting	Linen or Cotton Canvas

preparation

surface prep

The canvas should be prepared with a ground suitable for oil painting. While specific preparation for this exact canvas is not detailed in the sources, Aivazovsky’s academic background suggests a standard white or neutral ground to facilitate the layering of transparent glazes (Source 2).

underdrawing

Aivazovsky’s preparatory methods are not explicitly detailed in the provided sources. However, given his 'highly academic' style and training under Maxim Vorobiev, a precise underdrawing is likely to establish the composition before the application of color (Source 2).

underpainting

The underpainting likely follows a grisaille or monochrome stage, mentally extracting red and yellow colors to establish the tonal structure. This aligns with the historical method described by Sir Joshua Reynolds, where the first and second paintings are done with oil of copavia using black, ultramarine, and white (Source 1). This monochrome base allows for the subsequent glazing of yellow and red tones (Source 1).

color palette

Ultramarine

Pure Ultramarine Blue

Underpainting and sky/water tones, consistent with Reynolds' method and Aivazovsky's marine focus

White Lead

Pure White Lead

Highlights and mixing for tints, essential for the 'delicate colors' and light effects in Aivazovsky's work

Black

Ivory Black or Lamp Black

Shadows and tonal depth in the underpainting

Yellow Ochre

Natural Yellow Ochre

Glazing to introduce warm tones, as per the method of adding yellow and red tones after the grisaille

Red Ochre

Natural Red Ochre

Glazing to introduce warm tones, particularly for landforms or sunset effects

composition

The composition likely features a wide view of the sea and coastline, consistent with Aivazovsky’s focus on marine landscapes and the Romantic tradition of depicting wilder landscapes and storms (Source 2, Source 4). The arrangement of elements aims for a coherent composition where the sky and weather are integral to the mood, reflecting the 'romantic struggle between man and the elements' (Source 2, Source 7).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the composition lightly, focusing on the horizon line and major landforms.
Tip — Ensure the perspective aligns with the vastness typical of Romantic landscapes.
Academic Underdrawing

underpainting

step 02
Apply a monochrome layer using black, ultramarine, and white mixed with oil of copavia (or stand oil).
Tip — Mentally extract red and yellow colors, focusing on the tonal values as if these colors were not present.
Grisaille/Monochrome Underpainting

first pass

step 03
Allow the underpainting to dry completely.
Tip — Do not proceed to glazing until the monochrome layer is quite dry.
Drying

refining

step 04
Glaze and scumble with oil, introducing yellow and red tones as they occur in nature.
Tip — Glazing is a transparent coat of color; scumbling is semi-opaque. Use these to tint the engraving-like underpainting.
Glazing and Scumbling

finishing

step 05
Refine the glazes, potentially mixing varnish with oil for greater transparency and mastery.
Tip — Be aware of simultaneous contrast; adjacent colors will affect each other's perceived tone and hue.
Varnish Glazing

critical techniques

Glazing

A transparent coat of color applied over a dry underpainting to build up luminosity and depth. This method was practiced by old masters and is essential for achieving the 'fantastic color' in Aivazovsky's work.

Scumbling

A semi-opaque painting technique where the underlying painting shows through. When used over a darker ground, it tends to coldness, creating a grey bloom effect.

Simultaneous Contrast

Understanding that adjacent colors affect each other's appearance. The painter must appreciate the color peculiar to each part and the modifications received from contiguous colors to avoid inaccuracies.

common pitfalls

→Adding black to darken colors can cause hue shifts (e.g., yellows shifting greenish). Instead, use complementary colors to neutralize and darken without shifting hue (Source 6).
→Lightening colors with white can cause hue shifts (e.g., reds shifting blue). Correct this by adding a small amount of an adjacent color (Source 6).
→Neglecting the drying time of the monochrome underpainting before glazing, which can lead to muddy colors and loss of transparency (Source 1).
→Failing to account for simultaneous contrast, leading to inaccurate color perception and application (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 Amalfi coastline as depicted in this exact 1865 painting are not described in the sources, so the composition relies on general knowledge of Aivazovsky's marine landscapes.
·The exact pigment mixtures for the 'delicate colors' of the 1870s are not detailed, but the 1865 work is described as having 'fantastic color' and a variety of colors.
·Aivazovsky's specific underdrawing technique is not explicitly documented in the provided sources, so it is inferred from his academic training.

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
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints — applied to Color theory and composition
- 315. As to the advantages the painter will find in it — applied to Color perception and application

cross-referenced from

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

Wikipedia bio — Ivan Aivazovsky↗
- part 7 — applied to Style, period characteristics, and influences
Wikipedia: Romanticism↗
- Romanticism — part 22 — applied to Context of landscape painting and Romantic style
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Pigment mixing and avoiding hue shifts