View of the Banks of the Oise

surface prep

The canvas should be primed to accept oil paint. While Rousseau’s specific ground preparation is not detailed in the sources, the general practice of oil painting involves preparing the surface to allow for the 'layers' and 'flexibility' inherent to the medium (Source 4). A neutral or white ground is standard for the bright, flat colors associated with his Naïve style.

underdrawing

Rousseau’s preparatory methods are not explicitly described in the provided sources. However, given his self-taught background and 'flat, seemingly childish style,' he likely employed a direct approach or a light underdrawing that was subsequently covered by opaque layers, consistent with the 'covering well' quality of earth pigments mentioned in color theory texts (Source 8).

underpainting

While Rousseau’s specific underpainting technique is not documented in the sources, the general tradition of oil painting often involves a monochrome underpainting (grisaille) to establish values before applying color. Source 1 describes a method where a grisaille is dried, then glazed and scumbled with oil and varnish to add red and yellow tones. This 'old master' technique, though Rousseau was a modern painter, aligns with the layered approach of oil painting (Source 1, Source 4).

Glazing

Applying a transparent coat of color over a dry underpainting to modify tone and value. Source 1 describes this as a method used by old masters to add red and yellow tones.

Scumbling

Applying a semi-opaque layer of paint over a darker ground to create a 'grey bloom' or coldness. This technique allows the underlying painting to show through.

Use of Earth Pigments

Utilizing ochres and umbers for their covering power and ease of drying, as noted in Source 8. These pigments are substantial and suitable for the broken tones in landscapes.