plate no. 8573
View of Bordighera
Theodore Robinson, 1891
recreation guide
Theodore Robinson’s *View of Bordighera* (1891) represents a pivotal moment in American Impressionism, reflecting the artist’s deep immersion in the French tradition under the influence of Claude Monet. Robinson was one of the first American artists to adopt Impressionism, moving from a realist style to a more traditional impressionistic manner during his time in Giverny (Source 2). This work likely embodies his commitment to portraying the 'beauties and mystery of nature in a manner stringently truthful to one's personal vision,' a principle he absorbed from Monet (Source 2). As a landscape, it focuses on natural scenery, potentially including sky and weather elements as compositional factors, consistent with the genre’s emphasis on coherent composition and atmospheric truth (Source 3).
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, Black, Yellow, Red tones) | Primary pigments for underpainting and glazing | High-quality tube oils; Ultramarine Blue, Titanium White, Ivory Black, Cadmium Yellow/Red |
| Oil of Copavia (or modern stand oil/linseed oil) | Medium for the first and second paintings, as cited in Reynolds’ method referenced in historical practice | Stand oil or refined linseed oil |
| Varnish | Mixed with oil for later glazing stages to gain mastery over transparent coats | Dammar varnish or synthetic resin varnish |
| Canvas or Panel | Support for the oil painting | Linen canvas primed with gesso |
preparation
surface prep
While specific surface preparation for *View of Bordighera* is not detailed in the sources, Robinson’s training at the École des Beaux-Arts and under Carolus-Duran suggests a traditional approach. The sources indicate that old masters and practitioners of glazing techniques often worked on prepared grounds that allowed for transparent layers. A neutral or toned ground may be beneficial to facilitate the 'grisaille' or monochrome underpainting method described in historical oil painting practices (Source 1).
underdrawing
Robinson’s meticulous diaries suggest a careful approach to observation, but specific underdrawing techniques for this painting are not explicitly described. However, contour drawing principles emphasize mass and volume over minor details, which aligns with the Impressionist focus on light and atmosphere rather than rigid outlines (Source 8). It is likely that any underdrawing was minimal or integrated into the initial color blocks to avoid hard lines that would disrupt the optical mixing of light.
underpainting
The sources describe a method of 'colouring a monochrome' where the artist mentally extracts red and yellow colors, leaving a grisaille (grey-scale) underpainting (Source 1). This technique involves painting the first layers with oil of copavia using black, ultramarine, and white to establish values and forms (Source 1). This underpainting serves as the structural foundation, allowing subsequent glazes of yellow and red tones to be applied transparently, much like tinting an engraving (Source 1).
color palette
Ultramarine
Pure Ultramarine Blue
Underpainting and establishing cool tones in shadows and sky, consistent with the 'black, ultramarine, and white' initial palette (Source 1)
White
Lead White or Titanium White
Highlighting and mixing with ultramarine/black for the monochrome underpainting (Source 1)
Black
Ivory Black or Lamp Black
Establishing dark values in the grisaille underpainting (Source 1)
Yellow Tones
Various yellows (e.g., Cadmium, Chrome)
Glazing and scumbling over the dry grisaille to introduce warmth and light, as these colors were 'extracted' from the initial monochrome (Source 1)
Red Tones
Various reds (e.g., Vermilion, Cadmium Red)
Glazing and scumbling to add warmth and depth, applied transparently over the underpainting (Source 1)
composition
As a landscape, the composition likely arranges natural elements into a coherent view, possibly including sky and weather effects (Source 3). Robinson’s work is characterized by a truthful representation of nature’s beauty and mystery, influenced by Monet’s advice to portray personal vision stringently (Source 2). The composition may utilize the law of simultaneous contrast, where colors are chosen to harmonize with the inherent nature of the objects while considering the effects of contiguous colors (Source 5). Specific details of the Bordighera view are not described in the sources, so the composition should focus on the atmospheric interplay of light and color rather than topographical precision.
step by step
underpainting→refining→finishing→glazing→scumbling
underpainting
step 01
Create a grisaille (monochrome) underpainting using black, ultramarine, and white mixed with oil of copavia (or stand oil). Mentally extract red and yellow colors, focusing on values and forms as if these warm colors were not present.
Tip — Ensure the underpainting is quite dry before proceeding to glazing.
Grisaille Underpainting
refining
step 04
Apply the law of simultaneous contrast to harmonize colors. Adjust tones so that the lightest tones are lowered and darkest tones heightened where colors are juxtaposed, ensuring the colors appear true to the model’s inherent nature.
Tip — Watch for the eye’s tendency to see complementary colors after prolonged viewing, which can distort color perception.
Simultaneous Contrast
finishing
step 05
Review the painting for overall harmony and truthfulness to the personal vision of the scene. Ensure that the vitality of the oil medium is expressed, avoiding mere deception of the eye in favor of emotional expression.
Tip — Remember that art is an expression of feeling associated with the material, not just a substitute for nature.
Impressionist Observation
glazing
step 02
Apply transparent coats of yellow and red tones over the dry grisaille. Use oil initially, and as mastery increases, mix varnish with oil to enhance transparency and depth.
Tip — Treat the glazing like tinting an engraving with watercolors, allowing the underlying painting to show through.
Glazing
scumbling
step 03
Use semi-opaque painting (scumbling) to adjust tones and create effects like a 'grey bloom' over darker grounds. This technique allows the underlying painting to make itself felt while modifying the surface color.
Tip — Be aware that scumbling over darker grounds tends to produce coldness, which can be used to create atmospheric effects.
Scumbling
critical techniques
Glazing and Scumbling
Used to build up color and light effects transparently over a monochrome underpainting. Glazing involves transparent coats, while scumbling is semi-opaque, allowing the underlayer to influence the final appearance (Source 1).
Simultaneous Contrast
Applied to harmonize colors and accurately perceive modifications of light and tone. The painter must account for how contiguous colors affect each other, ensuring that the final image reflects the true color of the model despite optical illusions (Source 6).
Monochrome Underpainting
Establishes the structural values and forms of the landscape before introducing color. This method, advocated by Reynolds and practiced by old masters, allows for greater control over the final color harmony (Source 1).
common pitfalls
- →Applying glazes before the underpainting is completely dry, which can lead to muddiness and loss of transparency (Source 1).
- →Ignoring the law of simultaneous contrast, resulting in colors that appear inaccurate or disharmonious due to the influence of adjacent hues (Source 6).
- →Overworking the painting to achieve a deceptive illusion of nature, thereby losing the vital expression and emotional idea associated with the oil medium (Source 7).
- →Failing to account for the eye’s fatigue and tendency to see complementary colors, which can lead to incorrect color mixing and application (Source 6).
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 visual details of *View of Bordighera* (e.g., exact layout of buildings, vegetation, sky conditions) are not described in the sources, so the recreation must rely on general Impressionist landscape principles.
- ·Robinson’s specific brushwork style for this painting is not detailed; the guide assumes a general Impressionist approach influenced by Monet.
- ·The exact pigments used by Robinson in 1891 are not specified, so modern equivalents are suggested based on historical practices.
- ·The specific medium ratios (oil to varnish) for glazing are not quantified in the sources, requiring the artist to experiment for desired transparency.
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, glazing, and scumbling techniques
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and simultaneous contrast principles
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of using oil paint for expression rather than mere deception
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Theodore Robinson↗
- part 1 — applied to Artist’s style, influence of Monet, and Impressionist approach
Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to Genre conventions and compositional elements
Read more about the corpus on the sources page and how the guides are built on the methods page.
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