plate no. 4705

View Of Istanbul From The Dutch Embassy In Pera

oil, canvasBaroquelandscapecityscapelandscapefiguresskycloudswater

recreation guide

Jean Baptiste Vanmour’s 'View Of Istanbul From The Dutch Embassy In Pera' (1737) is a topographical view that functions as a detailed record of the city’s architecture and atmosphere, consistent with the tradition of landscape painting where the primary purpose is to depict an actual, specific place, especially including buildings prominently (Source 3). As a work from the early 18th century, it likely employs the oil painting techniques prevalent among the 'old masters,' who generally practiced methods involving layered applications of paint rather than the direct mixing favored by later modern painters (Source 1). The artwork benefits from the inherent advantages of oil media, such as richer color density and the ability to build layers, which allow for the nuanced rendering of light and shadow essential to Baroque landscape traditions (Source 6).

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Linseed oil or Poppy seed oil	Primary binder for pigments; provides flexibility and rich color density.	Cold-pressed linseed oil or refined poppy oil
Oil of Copavia (or modern damar/resin varnish)	Medium for glazing layers, as cited in Reynolds' method for establishing painting methods.	Damar varnish mixed with odorless mineral spirits
Turpentine	Thinner for initial layers and cleaning; standard solvent for oil paints.	Odorless mineral spirits (Gamsol)
Canvas	Support surface, consistent with the medium description.	Linen canvas, primed with gesso
Pigments: Ultramarine, White, Black, Red, Yellow	Core palette for grisaille and subsequent glazing/scumbling.	Ultramarine Blue, Titanium White, Ivory Black, Cadmium Red/Yellow or Earth tones

preparation

surface prep

The canvas should be prepared with a ground that allows for the 'old master' technique of glazing. While specific priming recipes for Vanmour are not detailed in the sources, the general practice of the period involved preparing a surface suitable for oil application. The artist should ensure the ground is smooth enough to support fine topographical details but textured enough to hold the oil layers. (Source 6)

underdrawing

Vanmour’s work is a topographical view, implying a need for structural accuracy. While the sources do not explicitly describe Vanmour’s underdrawing, the practice of copying and studying from life suggests a careful initial layout. The artist should likely use a charcoal or thinned oil sketch to establish the architectural lines of the embassy and the distant cityscape, ensuring the 'coherent composition' required for landscape views (Source 3).

underpainting

The artist should employ a grisaille (monochrome underpainting) technique. This involves painting the entire composition in neutral tones, mentally extracting red and yellow colors to establish the value structure first. This method is documented as a practice of the old masters, where the grisaille is allowed to dry completely before color is applied (Source 1).

color palette

Ultramarine

Pure ultramarine pigment

Used in the initial grisaille layers alongside black and white to establish shadows and mid-tones, as per Reynolds' method (Source 1).

White

Lead white or modern Titanium white

Highlights and mixing with ultramarine/black for the grisaille underpainting (Source 1).

Black

Ivory black or Lamp black

Deep shadows and defining architectural lines in the grisaille stage (Source 1).

Red and Yellow tones

Transparent reds (e.g., Vermilion, Alizarin) and yellows (e.g., Yellow Ochre, Cadmium)

Applied via glazing and scumbling over the dry grisaille to introduce warmth and local color, mimicking the tinting of an engraving (Source 1).

composition

The composition is a topographical view, meaning it depicts an actual, specific place with buildings prominently featured (Source 3). Consistent with landscape traditions, the sky is almost always included and likely serves as a major element of the composition, potentially emphasizing cloud formations typical of the region's climate, which cast particular light on the scene (Source 4). The artist should aim for a coherent arrangement of elements, balancing the detailed architecture of the embassy with the broader vista of Istanbul.

step by step

underdrawing→underpainting→refining→finishing

underdrawing

step 01
Sketch the architectural details of the Dutch Embassy and the distant Istanbul skyline using charcoal or thinned oil. Ensure accurate proportions as this is a topographical view.
Tip — Focus on the structural integrity of buildings, as the genre demands accuracy of the specific place (Source 3).
Topographical sketching

underpainting

step 02
Create a grisaille underpainting using only black, ultramarine, and white. Establish the full range of values from light to dark without using red or yellow.
Tip — Mentally extract red and yellow colors, translating what would be left in nature if these colors were not present (Source 1).
Grisaille

refining

step 03
Allow the grisaille to dry completely. Then, apply transparent coats of color (glazing) using oil or a mix of varnish and oil. Introduce red and yellow tones to warm up the highlights and mid-tones.
Tip — Apply colors much as you would tint an engraving with watercolors. Glazing is a transparent coat of color (Source 1).
Glazing
step 04
Use scumbling (semi-opaque painting) over darker grounds to create coldness or grey blooms, particularly in shadows or atmospheric areas.
Tip — Scumbling allows the underlying painting to make itself felt. When employed over a darker ground, it tends to coldness (Source 1).
Scumbling

finishing

step 05
Refine the contrast between light and dark areas. Ensure that the juxtaposition of tones creates a true gradation of light, where the highest tone is enfeebled and the lowest tone is heightened at the line of juxtaposition.
Tip — Pay attention to the law of simultaneous contrast to harmonize colors inherent to the object (Source 2).
Chiaro-oscuro

critical techniques

Glazing and Scumbling

Used by old masters to build color and depth. Glazing adds transparent color layers, while scumbling adds semi-opaque layers that interact with the underpainting. This method was practiced far more generally than modern painters often assume (Source 1).

Grisaille Underpainting

A monochrome foundation that establishes value structure before color is introduced. This allows the artist to focus on form and light without the distraction of hue (Source 1).

Chiaro-oscuro (Light-Dark Contrast)

Creating gradation of light through juxtaposition of tones. This principle ensures that the transition between light and dark is natural and harmonious (Source 2).

common pitfalls

→Mixing colors directly on the palette instead of layering them, which defeats the purpose of the glazing/scumbling technique described for old masters (Source 1).
→Applying glazes before the underpainting is completely dry, which can muddy the colors and ruin the transparency (Source 1).
→Ignoring the law of simultaneous contrast, leading to flat or disharmonious color transitions (Source 2).
→Over-modeling or becoming too tied to the outline, which can result in a stiff appearance. Copying works like Reynolds' portraits can help check this tendency (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 pigment recipes used by Vanmour in 1737 are not detailed in the sources; modern equivalents are suggested.
·The exact brushwork style (e.g., impasto vs. smooth finish) for Vanmour is not explicitly described, though glazing implies a smoother surface.
·Details of the specific atmospheric effects or weather conditions depicted in this particular painting are not described in the sources, requiring the artist to rely on visual reference of the artwork itself.

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 Grisaille underpainting, glazing, and scumbling techniques
- ON COPYING — applied to Advice on avoiding over-modeling and improving craftsmanship
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Chiaro-oscuro and color harmony principles

cross-referenced from

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

Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to Definition of topographical view and composition elements
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to General advantages of oil medium and materials

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

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