plate no. 1071
View of Odessa on a Moonlit Night
recreation guide
This recreation guide addresses Ivan Aivazovsky’s 'View of Odessa on a Moonlit Night,' a work situated within his broader oeuvre of Romantic marine and urban landscapes. Aivazovsky is characterized as a 'highly academic' Romantic painter who, while incorporating realistic elements, remained faithful to Romanticism throughout his career (Source 4). His later works, particularly from the 1870s onwards, are noted for being dominated by 'delicate colors' and a series of 'silver-toned seascapes' (Source 4). This specific painting, depicting an urban landscape under moonlight, aligns with his later period's focus on atmospheric effects and the interplay of light and shadow, rather than the 'fantastic color' of his earlier years (Source 4). The artwork likely employs the principles of simultaneous contrast to manage the chiaroscuro inherent in a moonlit scene, where the distinction between light and dark tones is critical for creating depth and luminosity (Source 1, Source 2).
estimated time
20-30 hours over 5-7 sessions
materials
4 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Yellow Ochre, Vermilion/Red) | Primary palette for creating the silver-toned seascape and moonlit cityscape. Ultramarine and white are specifically noted in Reynolds' method cited in sources, which aligns with the cool tones of moonlight. | — |
| Oil of Copavia or Linseed Oil | Medium for glazing and scumbling. Source 3 explicitly mentions Reynolds using 'oil of copavia' for his first and second paintings, a technique relevant to achieving the transparent layers needed for moonlight effects. | Stand Oil or Walnut Oil |
| Canvas or Panel | Support for the oil painting. | — |
| Varnish | For final glazing layers if following the traditional old master method described in Source 3. | Dammar Varnish |
preparation
surface prep
Prepare a white or light-toned ground. While Aivazovsky’s specific ground preparation is not detailed in the sources, the use of glazing techniques (Source 3) implies a need for a stable, non-absorbent surface. The 'grisaille' method mentioned in Source 3 suggests a monochrome underlayer, which requires a dry, sealed ground to prevent cracking during subsequent glazing.
underdrawing
Aivazovsky’s preparatory methods are not explicitly detailed in the provided sources. However, given his 'highly academic' training (Source 4), a precise underdrawing is likely. Use a thin wash of umber or charcoal to establish the horizon line, the placement of Odessa’s buildings, and the moon’s position. Focus on the mass and volume of the structures rather than fine detail, consistent with contour drawing principles that emphasize form over minor details (Source 7).
underpainting
Create a monochrome grisaille underpainting. Source 3 describes a method where the artist completes a preparation by 'mentally extracting the red and yellow colours,' leaving a neutral base. This grisaille should establish the chiaroscuro (light and shadow) of the moonlit scene. Use black, ultramarine, and white (as per Reynolds’ method cited in Source 3) to define the values of the sea, sky, and cityscape. This step is crucial for managing the 'simultaneous contrast' of tones, where the highest tone is enfeebled and the lowest heightened at juxtaposition lines (Source 1).
color palette
Silver-Blue
Ultramarine + White + touch of Black
The sea and sky, reflecting the 'silver-toned seascapes' characteristic of Aivazovsky’s later work (Source 4).
Cool Grey
Black + White + Ultramarine
Shadows in the cityscape and the moonlit water, adhering to the 'grisaille' preparation method (Source 3).
Pale Yellow
Yellow Ochre + White
Moonlight reflections and window lights, applied via glazing to warm the cool tones without overpowering the silver atmosphere (Source 3).
Deep Blue/Black
Ultramarine + Black
Deep shadows and the night sky, providing contrast for the moonlit areas (Source 1).
composition
The composition likely emphasizes the 'romantic struggle between man and the elements' or the serene beauty of the urban landscape, consistent with Aivazovsky’s later works (Source 4). The horizon line should be placed to balance the sky and sea, with the city of Odessa anchoring the scene. The moon’s position is critical for directing the viewer’s eye and establishing the light source. Avoid cluttering the foreground; Aivazovsky’s later works are noted for their delicate colors and atmospheric unity rather than dense detail (Source 4).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the basic forms of the Odessa skyline, the sea, and the moon. Focus on the mass and volume of the buildings and the curvature of the waves.
Tip — Ensure the horizon line is level and the perspective of the buildings is accurate.
Contour Drawing
underpainting
step 02
Apply a monochrome grisaille using black, ultramarine, and white. Establish the light and shadow values of the scene, focusing on the contrast between the moonlit areas and the shadows.
Tip — Pay attention to the 'law of contrast of colour' where juxtaposed tones affect each other (Source 1).
Grisaille
first pass
step 03
Once the grisaille is dry, begin glazing with transparent colors. Apply cool blues and greys to the sea and sky, and warm yellows to the moonlight reflections.
Tip — Use oil of copavia or linseed oil as a medium to ensure transparency (Source 3).
Glazing
refining
step 04
Scumble semi-opaque layers over darker areas to create a 'grey bloom' or coldness, particularly in the shadows of the cityscape.
Tip — Scumbling over a darker ground tends to coldness, which is suitable for moonlit shadows (Source 3).
Scumbling
finishing
step 05
Refine the details of the buildings and the moon’s glow. Use the principle of simultaneous contrast to enhance the luminosity of the moonlit areas by ensuring the surrounding shadows are sufficiently dark.
Tip — The eye perceives colors differently when juxtaposed; adjust tones to maintain the silver-toned atmosphere (Source 2).
Simultaneous Contrast
varnishing
step 06
Apply a final varnish to unify the glazes and protect the painting.
Tip — Ensure the painting is completely dry before varnishing.
Varnishing
critical techniques
Glazing
Applying transparent coats of color over a dry underpainting to build up luminosity and depth. This is essential for achieving the delicate, silver-toned effects characteristic of Aivazovsky’s later work (Source 3).
Simultaneous Contrast
Understanding that juxtaposed colors affect each other’s perception. In a moonlit scene, the contrast between the bright moonlight and the dark shadows is heightened, requiring careful adjustment of tones to maintain realism and atmosphere (Source 2).
Chiaroscuro
The use of strong contrasts between light and dark to create volume and drama. This is central to Romantic marine painting and is achieved through the grisaille underpainting and subsequent glazing (Source 1).
common pitfalls
- →Overworking the paint: Aivazovsky’s later works are noted for their delicate colors; excessive blending can muddy the glazes and lose the luminosity (Source 4).
- →Ignoring simultaneous contrast: Failing to account for how adjacent colors affect each other can lead to inaccurate perception of tones, especially in the moonlit highlights and shadows (Source 2).
- →Using opaque colors too early: Applying opaque colors before the glazes are dry can disrupt the transparent layers and reduce the depth of the painting (Source 3).
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 Odessa skyline in this particular painting are not described in the sources, so the artist must rely on general knowledge of Aivazovsky’s urban landscapes or reference images.
- ·The exact year of the painting is not available, making it difficult to pinpoint the precise stage of Aivazovsky’s stylistic evolution, though it is likely from his later period given the 'silver-toned' description (Source 4).
- ·Aivazovsky’s specific brushwork techniques for water and sky are not detailed in the sources, requiring the artist to infer from general Romantic marine painting practices.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Understanding chiaroscuro and simultaneous contrast in the moonlit scene.
- 315. As to the advantages the painter will find in it... — applied to Perceiving and imitating modifications of light and color in the moonlit environment.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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