plate no. 5913

View of Fiesole

William Merritt Chase, 1907

oilImpressionismlandscapelandscapetreesfoliagebuildinghillssky

what to study here

It shows how a narrow value range, warm mid-tones and softened edges can build depth and a clear focal point in a landscape.

Look at how this hillside is organized by value before anything else. Squint and three zones appear: a pale sky, a few dark cypress accents, and a wide warm mid-tone mass of ochres, golds and muted greens. The lightest lights sit in the sky and the villa walls, so the villa reads as the focal point in the middle distance. The eye is led from the delicate branching trees at lower left, through looser, warmer foliage on the right, up to the villa and cypress silhouettes, then back to purple-hazed hills. Notice the edge control. Foreground foliage is built from small, visible strokes of separate hues, with slightly crisper but still soft edges. Distant hills dissolve into cool lavender with lost edges. Cypresses are dark silhouettes, not outlined shapes. The greens are tempered with warm ochres rather than pure and bright. Study how recession comes from temperature and edge softness together, not from added detail.

key decision

Chase kept most of the canvas in warm middle values and saved the darkest darks (cypress trunks, foliage shadows) and lightest lights (sky, villa) for a few accents. Distance is handled by cooler, softer lavender hills.

recreation guide

William Merritt Chase’s 'View of Fiesole' (1907) is a landscape executed in oil, reflecting his status as a prominent American exponent of Impressionism (Source 3). While the specific visual details of this particular canvas are not described in the provided sources, Chase’s general practice involved a loosely brushed style developed during his training in Munich under Karl von Piloty and Alexander von Wagner (Source 3). The work likely adheres to the Impressionist tradition of capturing the modifications of light and color inherent in natural scenery, rather than strict topographical accuracy (Source 4). Chase’s approach to landscape painting was influenced by the broader European trends that elevated landscape as a primary source of stylistic innovation, moving beyond mere representation to capture the atmospheric effects of the environment (Source 2).

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

7 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Red, Yellow)	Primary pigments for underpainting and glazing as described in historical methods	Artist-grade oil paints
Linseed oil or Oil of Copavia	Medium for thinning paint and creating glazes; Reynolds specifically mentions oil of copavia for first and second paintings	Stand oil or refined linseed oil
Mineral spirits or Turpentine	Solvent for cleaning brushes and thinning initial layers	Odorless mineral spirits
Canvas	Support for the oil painting	Linen or cotton canvas, primed
Charcoal or thinned paint	For initial sketching of the subject onto the canvas	Vine charcoal or diluted oil paint
Palette knives and brushes	Application of paint; knives can be used for scraping or applying thick layers	Standard artist brushes and palette knives

preparation

surface prep

The canvas should be prepared with a ground suitable for oil painting. While specific priming methods for this exact work are not detailed, traditional oil painting techniques involve sketching the subject onto the canvas with charcoal or thinned paint before applying color (Source 7). Chase’s Munich training emphasized a loosely brushed style, suggesting a surface that allows for visible brushwork rather than an overly smooth, dead-flat finish.

underdrawing

Begin by sketching the composition using charcoal or thinned paint to establish the main forms and perspective of the landscape (Source 7). Focus on the mass and volume of the landscape elements rather than minor details, consistent with contour drawing principles that emphasize form and space (Source 8). Chase’s style was characterized by loose brushwork, so the underdrawing should be light and flexible, allowing for adjustments during the painting process.

underpainting

Employ a grisaille (monochrome underpainting) technique. Mentally extract red and yellow colors to create a neutral base, translating what would remain in nature if those warm tones were absent (Source 1). This underpainting should be allowed to dry completely before proceeding. This method, while sometimes viewed with prejudice by modern painters, was practiced by old masters and involves establishing the tonal structure before adding color (Source 1).

color palette

Ultramarine

Pure ultramarine pigment

Part of the initial monochrome underpainting along with black and white (Source 1)

White

Lead white or titanium white

Establishing highlights and tonal values in the grisaille stage (Source 1)

Black

Ivory black or lamp black

Establishing shadows and depth in the grisaille stage (Source 1)

Red and Yellow tones

Vermilion, cadmium red, yellow ochre, cadmium yellow

Glazing and scumbling over the dry grisaille to introduce warmth and local color (Source 1)

Greys and Cool Tones

Mixtures of ultramarine, white, and black

Creating 'grey blooms' and coldness in shadows or distant areas via scumbling (Source 1)

composition

As a landscape, the composition likely includes a wide view with sky and weather elements, which are almost always included in such works (Source 4). Chase’s Impressionist approach suggests a focus on the coherent arrangement of natural scenery elements like trees, hills, or buildings into a unified whole, rather than strict topographical precision (Source 4). The artist may have chosen colors that harmonize with the inherent nature of the objects, while also considering the simultaneous contrast of colors to enhance the perception of light and shadow (Source 6).

step by step

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

underdrawing

step 01
Sketch the landscape composition lightly using charcoal or thinned paint, focusing on the major forms and spatial relationships.
Tip — Keep lines loose to allow for the 'loosely brushed style' characteristic of Chase (Source 3).
Contour drawing / Initial sketch

underpainting

step 02
Create a grisaille underpainting using only black, ultramarine, and white mixed with oil of copavia (or linseed oil). Exclude red and yellow tones to establish the tonal structure.
Tip — Mentally extract red and yellow to see the underlying structure (Source 1).
Grisaille / Monochrome underpainting

first pass

step 04
Apply transparent glazes of red and yellow tones over the dry grisaille. Use oil as a medium initially.
Tip — Glazing is a transparent coat of color that allows the underlying painting to show through (Source 1).
Glazing

drying

step 03
Allow the grisaille layer to dry completely. This is crucial before applying glazes to prevent muddying the colors.
Tip — Oil paint dries by oxidation, typically within two weeks, but some colors may take longer (Source 7).
Drying time

refining

step 05
Use scumbling (semi-opaque painting) to add texture and cool tones, particularly over darker grounds to create a 'grey bloom' effect.
Tip — Scumbling tends to coldness when employed over a darker ground (Source 1).
Scumbling

finishing

step 06
Refine the color harmonies by considering the simultaneous contrast of colors. Adjust tones where juxtapositions might cause visual fatigue or inaccurate color perception.
Tip — Be aware that the eye may see the complementary of a previously viewed color, affecting accuracy (Source 5).
Simultaneous contrast

varnishing

step 07
Once fully dry, apply a varnish if desired, potentially mixed with oil for final adjustments, as practiced by some old masters.
Tip — Varnish can be mixed with oil for final glazing effects (Source 1).
Varnishing

critical techniques

Glazing and Scumbling

Glazing involves applying a transparent coat of color, while scumbling is a semi-opaque technique that allows the underlying layer to show through. These were used by old masters and are recommended for adding depth and tone (Source 1).

Grisaille Underpainting

Creating a monochrome base using black, ultramarine, and white to establish form and value before adding color. This method helps in mentally extracting warm tones to focus on structure (Source 1).

Simultaneous Contrast

Understanding how adjacent colors affect each other’s perception. This helps in harmonizing the composition and accurately depicting light modifications (Source 5).

Fat over Lean

Ensuring each additional layer of paint contains more oil than the layer below to prevent cracking and peeling (Source 7).

common pitfalls

→Applying glazes before the underpainting is completely dry, which can lead to muddied colors and poor adhesion (Source 1).
→Violating the 'fat over lean' rule, causing the painting to crack and peel over time (Source 7).
→Ignoring simultaneous contrast, leading to inaccurate color perception and disharmonious compositions (Source 5).
→Overworking the details, contrary to Chase’s loosely brushed style and the Impressionist focus on light and atmosphere rather than topographical precision (Source 3, Source 4).

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 Fiesole' (e.g., exact placement of buildings, trees, or figures) are not described in the sources.
·Chase’s specific palette choices for this 1907 work are not detailed; the guide relies on general historical practices and his Munich training style.
·The exact medium ratios (oil to pigment) used by Chase for this specific painting are unknown.
·Whether Chase used varnish mixed with oil for this specific work is inferred from general old master practices mentioned in Source 1, not confirmed for this piece.

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↗
- 315-324 — applied to Color theory and simultaneous contrast

cross-referenced from

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

Wikipedia bio — William Merritt Chase↗
- part 1 — applied to Artist’s style, training, and Impressionist affiliation
Wikipedia: Landscape painting↗
- part 1 and part 7 — applied to Genre conventions and compositional elements
Wikipedia: Oil painting↗
- part 2 — applied to Material handling and 'fat over lean' rule
Wikipedia: Contour drawing↗
- part 1 — applied to Underdrawing approach

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

Sunlight streams from the upper left, illuminating a Tuscan hillside dotted with cypress trees and a pale villa that sits as the focal point in the middle distance. The eye travels from the foreground's delicate branching trees on the left through warm, loose foliage masses on the right, then rises to the villa and cypress silhouettes, finally resting in the purple-hazed distant hills. The composition is deeply atmospheric—foreground trees are rendered with visible brushstrokes and broken color, while distant hills dissolve into cool lavender tones, guiding the viewer's gaze upward and back.

value structure

The lightest lights are concentrated in the sky (nearly white with cream undertones) and the villa's walls, while the darkest darks are the cypress tree trunks and deep shadows within the foliage (rich purples and browns). The bulk of the painting sits in the middle values—warm golds, muted greens, and earthy ochres in the vegetation and hillside. When you squint, three clear zones emerge: pale sky, dark cypress accents, and a broad warm mid-tone landscape mass.

observed palette and mixes

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Titanium White with a touch of Naples Yellow or Raw Sienna
Sky, building highlights, pale areas of the upper canvas
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Titanium White with Raw Sienna and Naples Yellow
Warm glow throughout sky, building walls, light-struck foliage highlights
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Yellow Ochre with Cadmium Yellow Light and a touch of Venetian Red
Golden-lit foliage, foreground left branching tree, warm earth tones in mid-ground
#b8a17b
Raw Sienna with Ultramarine Blue and Titanium White
Mid-tone foliage masses, landscape transitions, warm shadowed areas
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Yellow Ochre with Alizarin and Ultramarine Blue
Darker foliage, earth tones in middle distance, shadowed landscape passages
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Ultramarine Blue with Alizarin or Burnt Sienna, minimal white
Cypress tree trunks, deep shadows in dense foliage, darkest accents defining structure

edges and brushwork

This painting exemplifies impressionist broken color—foliage is built from small, visible brushstrokes of separate hues rather than blended forms, allowing optical mixing to occur in the viewer's eye. Edges are predominantly soft and lost, especially in the distance where hills dissolve into atmosphere. The foreground trees retain slightly crisper (but still soft) edges to pull forward, while cypress forms are suggested as dark silhouettes rather than carefully outlined shapes.

a working sequence

01
Establish the sky and set your light key
Begin with the pale sky, mixing Titanium White with a hint of Naples Yellow and Raw Sienna. Work from the top down, letting the color warm slightly as it approaches the horizon. Observe the subtle lavender tinges in the upper corners and warm cream tones near the tree line. This pale, warm sky is your lightest light and defines the entire color temperature of the piece.
02
Block in the distant hills and establish recession
Paint the far hills in cool purples and muted blues (Ultramarine Blue with Alizarin and white). Notice how these hills recede and become hazier, cooler, and less distinct as they go back. Leave some soft edges where hills meet sky. This atmospheric perspective is crucial—the distance must feel far by being cooler and less saturated than the foreground.
03
Place the villa and cypress tree silhouettes
Establish the pale building and its terracotta roof as your focal point anchor. Use light ochre and cream for the walls, warm reddish-brown for the roof. Paint the cypress trees as dark, vertical shapes behind the villa using deep mixes of Ultramarine Blue with Alizarin or Burnt Sienna. These dark accents should read clearly against the warmer middle ground—they're your compositional glue.
04
Develop the mid-ground landscape with warm muted greens
Fill in the rolling terrain around the villa with broken strokes of warm, muted foliage color. Mix yellowy-greens by combining Cadmium Yellow Light, Raw Sienna, and touches of Ultramarine Blue—avoid pure, bright greens. Vary the hue and value across this area; add warmer ochres and earth tones where the land catches light. This area should feel lively with broken color but fundamentally cohesive.
05
Establish the foreground sparse branching tree
On the left foreground, paint the delicate tree with visible branch structure. Use warm golden tones (Yellow Ochre with Cadmium Yellow Light) for the foliage, leaving some canvas showing through to suggest sparseness. Keep the branches visible and linear—this tree should feel light and airy compared to the dense vegetation elsewhere. The warm yellows and golden browns should advance toward the viewer.
06
Build the dense right-side vegetation with broken strokes
Apply the bulk of your broken-color technique here. Layer small, distinct brushstrokes of greens, yellows, ochres, and mauve shadows over and around this dense foliage area. Let some strokes sit side-by-side rather than blending them—this optical mixing is what makes impressionism vibrant. Notice the mixture of warm yellows and cooler greens; keep it harmonious by anchoring cool colors with warm neighbors.
07
Unify with atmospheric perspective and warmth
Step back and assess the overall temperature balance. The foreground should be warmer and more distinct than the middle ground, which should be warmer and more distinct than the distant hills. Add touches of warm haze throughout the middle distance to enhance atmospheric recession. Soften any edges that feel too sharp, particularly where foreground meets middle distance.
08
Strengthen structure and final accents
Add final dark accents using your deepest mix to define the cypress trees more clearly and add shadow details to the villa. Reinforce the foreground tree's branch structure if needed. Check that the eye still travels naturally to the villa, then soften any overly worked passages with a dry brush or gentle stroke. The painting should read as a harmonious landscape study, not a detail-heavy render.

where studies of this painting go wrong

Overblending the foliage into smooth, tight forms—the broken color technique requires resisting the urge to smooth and polish; let strokes remain visible for the characteristic impressionist vibration.
Using pure, bright greens instead of muted, earthy greens; this painting's greens are always tempered by warm ochres, blues, or maauves, so mix accordingly.
Making the distant hills and background too detailed or as crisply rendered as the foreground—atmospheric recession demands that distance be softer, cooler, and less saturated.
Over-defining the cypress trees as outlined shapes rather than integrating them as dark silhouettes within the landscape; they should read as shapes that belong to the whole, not as separate detailed objects.
Losing the warm atmospheric haze in the middle distance—the area around the villa and landscape should glow with warm, diffused light; if it feels flat or dull, add warmer ochre or cream glazes to restore the sunlit quality.

measured difficulty