plate no. 1987

View of Mount Earnshaw from the Island in Lake Wakatipe, New Zealand

oilNaturalismlandscapemountainslaketreesfoliageskybeach

what to study here

It shows clearly how a dark foreground frame, a bright middle band and soft distant peaks build depth through value and edge control.

Look at how the picture is organized into three value zones. A dark frame of foreground trees sits at the sides, a bright middle band of beach and lake carries the eye in, and a hazy background of mountains and sky closes the view. Light enters from the upper left, so the eye starts in the bright left vegetation, crosses the lake and beach, and stops at the snow-capped mountain in the center distance. Study the edge control. Palm fronds against the sky are sharp, with each frond reading as a directional linear stroke, while the distant mountains soften into blended transitions and the water is handled smoothly. Notice also the greens. The vegetation uses varied yellow-greens, olive-greens and blue-greens, with the darkest values in the shadowed foliage on the right and center. Try a small value study first: squint, reduce the picture to those three zones, and check that the mountain still anchors the center before you add any frond detail.

key decision

North framed the view with dark, sharply defined foreground vegetation on both sides, leaving the bright lake and beach as a path to the soft, snow-capped mountain. Sharp frond edges against hazy distant mountains do most of the work of depth.

From the record

Dimensions: 35.6 cm high × 50.7 cm wide
Institution: Marianne North Gallery
Location: Marianne North Gallery
Inception: 1880
Materials: oil paint

Lake Wakatipu

Wikidata item Q100982787

recreation guide

Marianne North’s 'View of Mount Earnshaw from the Island in Lake Wakatipe' (1880) is a landscape executed in oil, adhering to the Naturalist style. North was known for her extensive travels and botanical documentation, often painting directly from nature to capture specific topographical views with high accuracy (Source 6). The work likely emphasizes the distinct geological features of the mountain and the surrounding lake, consistent with the 19th-century tradition of landscape painting which sought to depict natural scenery such as mountains, valleys, and rivers with a coherent composition (Source 3). While North is primarily celebrated for her botanical illustrations, her landscape works serve as contextual backdrops or independent studies of the environments where her specimens were found, reflecting a commitment to recording the 'actual, specific place' rather than an imaginary vista (Source 3).

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

7 in sequence

materials

item	purpose	modern equivalent
Oil paints (various pigments)	Primary medium for the painting	—
Linseed oil	Drying oil binder and medium for glazing/scumbling	Refined linseed oil
Spirits of turpentine	Thinner for initial layers to ensure fast drying and prevent 'soapy' surfaces	Odorless mineral spirits or pure gum turpentine
Varnish	Mixed with oil for later glazing stages to increase transparency and flow	Dammar varnish or similar picture varnish
Canvas or panel	Support for the oil paint	Linen canvas or wood panel
Palette knives and brushes	Application of paint	—

preparation

surface prep

The surface should be prepared to accept oil paint. While specific priming methods for this exact canvas are not detailed in the sources, standard 19th-century practice involved a white or toned ground. Given the instruction to use turpentine for the first painting to leave the paint 'slightly absorbent' (Source 2), a standard oil-primed surface is appropriate. Ensure the ground is completely dry before beginning.

underdrawing

The sources do not explicitly describe North’s underdrawing technique for this specific landscape. However, given her scientific approach and the goal of topographical accuracy (Source 3), a precise initial sketch is implied to establish the 'coherent composition' of the mountain and lake. Use a thin wash of umber or charcoal to map the major forms of Mount Earnshaw and the island.

underpainting

The sources suggest two potential approaches for 19th-century oil painting: direct painting (alla prima) or a monochrome underpainting (grisaille) followed by glazing. Source 1 describes a method where a grisaille is painted first, 'mentally extracting the red and yellow colours,' and then glazed with color. Source 2 describes direct painting using turpentine for the first layer. For a landscape requiring atmospheric depth, the grisaille method (Source 1) is highly recommended to establish tone before applying color glazes. If using the grisaille method, mix black, ultramarine, and white (as suggested by Reynolds in Source 1) to create the tonal structure of the mountain and water.

color palette

Ultramarine

Pure ultramarine

Underpainting tones and sky/water glazes (Source 1)

White

Lead white or Zinc white

Highlights and mixing tints (Source 1, Source 2)

Black

Ivory black

Underpainting shadows and depth (Source 1, Source 2)

Yellow Ochre

Pure yellow ochre

Earth tones and general palette (Source 2)

Vermilion

Pure vermilion

Warm glazes and highlights (Source 2)

Rose Madder

Pure rose madder

Subtle warm tones and glazes (Source 2)

Cobalt

Cobalt blue

Sky and water tones (Source 2)

Emerald Green

Emerald green

Vegetation and landscape greens (Source 2)

Raw and Burnt Umber

Pure umber pigments

Earth tones, shadows, and underpainting (Source 2)

Oxide of Chromium

Chromium oxide green

Stable green tones for foliage (Source 2)

composition

The composition likely features Mount Earnshaw as the dominant vertical element, with the lake providing a horizontal counterbalance. Landscape painting traditions emphasize arranging elements into a 'coherent composition' where the sky is almost always included and weather is an element of the composition (Source 3). The view is topographical, aiming to depict an 'actual, specific place' (Source 3). The artist should focus on the 'spiritual element' or the 'raw power of nature' often found in 19th-century landscape traditions, though North’s work is more documentary (Source 6).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the outline of Mount Earnshaw, the island, and the lake shore. Establish the horizon line and sky area.
Tip — Ensure proportions are accurate for topographical fidelity.
Preliminary sketch

underpainting

step 02
If using the grisaille method, paint the entire composition in monochrome using black, ultramarine, and white. Focus on light and shadow, ignoring local color.
Tip — Mentally extract red and yellow colors, translating what would be left if they were not present (Source 1).
Grisaille

first pass

step 03
If using direct painting, apply the first layer of color using turpentine as the medium. This leaves the paint slightly absorbent for subsequent layers.
Tip — Turpentine dries 'dead' and prevents the surface from becoming soapy (Source 2).
Direct painting (alla prima)

refining

step 04
Once the underpainting is dry, begin glazing and scumbling. Apply transparent coats of color (glazing) and semi-opaque layers (scumbling) to introduce yellow and red tones.
Tip — Glazing is a transparent coat; scumbling is semi-opaque, allowing the underlying painting to show through (Source 1).
Glazing and Scumbling
step 05
Use a mixture of varnish and oil for later glazing stages to gain mastery over the color application, similar to tinting an engraving with watercolors.
Tip — This method was practiced by old masters and allows for rich, deep colors (Source 1).
Varnish glazing

finishing

step 06
Adjust colors based on the law of simultaneous contrast. Ensure that adjacent colors do not distort each other’s appearance unintentionally.
Tip — Be aware that the eye may see the complementary of a previously viewed color, affecting accuracy (Source 4).
Simultaneous Contrast
step 07
Finalize details of the mountain texture and water reflections. Ensure the 'vital expression of nature' is achieved through the medium, not just a deceptive illusion.
Tip — Remember that art is an expression of feeling and painted symbols, not a substitute for nature (Source 5).
Naturalism

critical techniques

Glazing and Scumbling

Used to build up color and depth over a monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque texture.

Simultaneous Contrast

Understanding how adjacent colors affect each other’s perception to ensure accurate color representation in the landscape.

Direct Painting with Turpentine

Using turpentine for the first layer to keep the surface absorbent and prevent a 'soapy' finish, allowing better adhesion for subsequent oil layers.

common pitfalls

→Using too much oil in the first layer, which can darken the color and make the surface 'soapy,' hindering subsequent layers (Source 2).
→Ignoring the law of simultaneous contrast, leading to inaccurate color perception and harmony issues (Source 4).
→Attempting to create a mere 'deception' of nature rather than expressing the 'vitality' of the medium and the artist’s feeling (Source 5).
→Applying glazes before the underpainting is completely dry, which can ruin the monochrome foundation (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 brushwork techniques used by Marianne North for foliage or water texture are not detailed in the sources.
·The exact dimensions and support material (canvas vs. panel) for this specific work are not provided.
·North’s specific palette choices for this New Zealand landscape are not explicitly listed, so general 19th-century palettes are inferred.
·The specific weather conditions or time of day depicted are not described, requiring artistic interpretation.

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
- CHAPTER XV PAINTING IN COLOUR DIRECT FROM LIFE — applied to Direct painting and medium usage
Laws of Contrast of Colour↗
- 315. As to the advantages... — applied to Color harmony and perception
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of medium and expression

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 Composition and genre context
- Landscape painting — part 8 — applied to Artist context and 19th-century landscape trends

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

Light streams from the upper left, illuminating the palm fronds and the left flank of the mountain, which serves as the painting's anchor. The eye enters through the bright left vegetation, sweeps across the calm blue-green lake and sandy beach, and settles on the snow-capped mountain in the center distance. The dense, varied greens of the right-side forest and the layered mountain range complete the panorama. The composition uses the foreground vegetation as a living frame, creating a viewing window into the lake and distant peaks.

value structure

The darkest values sit in the shadowed foliage right and center (tree trunks, forest depths), creating firm anchors. The lightest values are the pale sky, snow peaks, and sandy beach. Mid-tones carry most of the composition: the blue-green lake, varied greens of the vegetation, and the purple-blue mountains. When you squint, the image reads as three clear zones—dark frame (foreground trees), bright middle (beach and lake), and hazy background (mountains and sky).

observed palette and mixes

#dee7e1
titanium white with touch of cerulean blue
sky, snow caps, sandy beach highlights, cloud undersides
#c3d3d4
cerulean blue + white + touch of raw sienna
pale sky areas, atmospheric distance, beach mid-tones
#a4b6b3
ultramarine blue + burnt sienna + white
distant mountains, lake water mid-tones, atmospheric grays
#808e73
viridian + ultramarine + yellow ochre
mid-tone foliage, tree masses right side, shadowed greens
#5d7a57
viridian + raw umber + cadmium yellow medium
palm frond greens, forest canopy, vegetation volume
#394834
ultramarine blue + burnt umber + viridian
darkest tree shadows, trunk definition, deep forest recesses

edges and brushwork

Edges are sharp and defined where foreground vegetation meets sky—each palm frond reads distinctly. Brushwork is visible in the individual frond strokes (directional, linear marks) and in the loose, feathered sky clouds. The distant mountains soften considerably, with less edge definition and more blended transitions. Water is handled more smoothly, suggesting rather than describing reflections.

a working sequence

01
Composition and Value Underpainting
Lightly sketch the horizon line roughly two-thirds down, then the triangular mountain mass above it. Block in the major value regions: dark foreground framing vegetation left and right, light middle (beach and lake), and atmospheric background. Use thin raw umber wash to establish these masses without detail.
02
Sky Foundation
Begin with pale blue-white at the top (cerulean + white), warming slightly toward the horizon. Lay loose horizontal strokes for cloud banks, leaving the cloud undersides slightly warmer and the upper edges crisper. Keep the entire sky area light and atmospheric—this is your lightest zone except for the snow peaks.
03
Mountain Architecture
Block in the central snow-capped peak with pale lavender-blue (ultramarine + white + touch of alizarin). The mountain should feel distant and cool. Add the lower slopes in purple-blue, warmer and slightly darker than the snow. The left side of the peak receives more light (hint of yellow-ochre warm tone); the right side is cooler and slightly in shadow. Don't outline—let the sky color define the peaks naturally.
04
Lake and Water
Paint the lake in blue-green (ultramarine + viridian + white), warmer where it reflects sky near the horizon, cooler (more blue) in the middle distance. The water should feel calm and glassy. Leave subtle horizontal strokes to suggest ripples without overworking. The beach meeting the water should show a clear but soft edge.
05
Sandy Beach
The beach is pale cream-tan (raw sienna + white + touch of ultramarine). It catches light from the upper left, so the left side is warmer and brighter than the shadowed center-right. The beach reads as a clear light band between the lake and forest, pulling the eye toward the mountain.
06
Foreground Vegetation Mass
Block in the dark forest and palm areas left and right using muted greens (viridian + raw umber + ochre). The right side is notably darker and denser than the left. Keep edges soft where vegetation meets beach, sharper where palm fronds overlap sky. Vary your green—avoid uniform color. The shadows should read as deep but not black.
07
Palm Fronds and Tree Detail
Now paint individual palm fronds with linear, directional brushwork on the left side. Use yellow-green for lit fronds, olive-green for shadowed ones. Paint palm trunks in warm brown (burnt sienna + ultramarine), keeping them varied in thickness and slightly curved. Define a few key vegetation forms on the right with darker greens and darker trunk lines, but leave the right side forest more atmospheric and less detailed than the left.
08
Atmospheric Perspective and Soft Edges
Soften the far shore where it meets the water—no sharp edge. The distant peaks to the left should be hazier than the central mountain. Add subtle warm touches (yellow-ochre) to the right distant mountains to push them further back. The right-side forest should have softer edges than the left-side palms. This step ties depth together.
09
Final Refinements
Step back and adjust values. Darken shadowed foliage if needed to increase contrast with the bright beach and sky. Ensure palm fronds pop crisply against the sky. Add final highlights to the snow peaks and to any lit palm frond tips. Check that your eye naturally enters left and travels to the mountain—if not, the framing vegetation or values need subtle adjustment.

where studies of this painting go wrong

Making vegetation a single uniform green—North layers yellow-greens, olive-greens, and blue-greens throughout to create depth and visual interest. Mix multiple greens and apply them variously.
Over-detailing the distant mountains—they should remain atmospheric and soft, not sharp. Resist the urge to paint every peak crisply.
Muddy palm fronds—keep frond edges clean against the sky and light-struck, using directional single strokes rather than blending. A muddy frond loses the plant's linear character.
Flattening the water—the lake should suggest calm reflectivity without looking like solid flat paint. Let horizontal brushwork and subtle value shifts suggest movement and depth.
Neglecting the frame—the foreground vegetation creates the viewing window. If it's too timid, the composition loses drama; if too aggressive, it crowds the view. Balance is crucial.

measured difficulty