plate no. 2237
Whitby
recreation guide
J.M.W. Turner’s *Whitby* is a watercolor landscape that exemplifies his transition from topographical precision to the evocation of atmospheric mood. Turner was disciplined in the 'wise simplicity of method' of watercolor study under Dr. Monro, but he was profoundly influenced by John Robert Cozens’s work, which taught him that watercolor could convey 'mood instead of information' through 'curious atmospheric effects and illusions' (Source 1). This piece likely reflects his mature style, characterized by a 'chromatic palette and broadly applied atmospheric washes of paint' (Source 4). Rather than serving as a mere record of the location, the work aims to capture the 'violent power of the sea' and natural phenomena such as fog or storm, which were central fascinations for Turner (Source 5).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| High-quality linen rag watercolor paper | Turner required paper made from linen rags, bleached by water, air, and sunshine, to avoid the destructive effects of chlorine and cotton fillers found in cheaper papers (Source 2). | Cold-pressed 100% cotton or linen rag watercolor paper (e.g., Arches, Saunders Waterford). |
| Gum-arabic bound watercolors | The standard agglutinative for watercolors of this period, allowing for both transparent washes and opaque body colors (Source 2). | Professional grade pan or tube watercolors. |
| Carmine and other fugitive pigments | Turner experimented with a wide variety of pigments, including carmine, despite knowing they were not long-lasting, because he prioritized how materials looked when freshly applied over durability (Source 1). | Alizarin Crimson or Quinacridone Rose (for stability), though historically Carmine Lake was used. |
| Soft graphite or black chalk | For initial topographical sketching, as Turner perfected his skills in drawing by copying topographical draughtsmen (Source 1). | H or HB graphite pencil. |
| White gouache or opaque watercolor | To create highlights and 'impastements' or opacities, as Turner’s watercolor style included a mixture of washes and opaque body colors (Source 2). | White gouache or Chinese White watercolor. |
preparation
surface prep
The paper must be dry and free from dampness, as dampness causes sizing to ferment and decompose, leading to stains (Source 2). The paper should be sized evenly within the paste, not just on the surface, to prevent irregular sponginess during prolonged work (Source 2). No additional ground is applied; the white of the paper is reserved for lights (Source 2).
underdrawing
Begin with a precise topographical drawing. Turner was disciplined in copying 'major topographical draughtsmen' to perfect his drawing skills (Source 1). However, the drawing should serve as a foundation for atmospheric effects rather than a rigid constraint, as Turner moved toward conveying 'mood instead of information' (Source 1).
underpainting
Apply broad, transparent washes to establish the general tonal values and atmospheric conditions. Turner’s mature work is characterized by 'broadly applied atmospheric washes' (Source 4). Reserve the white of the paper for the brightest highlights, as is standard in watercolor technique where 'the paper is reserved for the lights' (Source 2).
color palette
Atmospheric Greys and Blues
Payne’s Grey, Ultramarine, and diluted black
Establishing the 'curious atmospheric effects' and 'illusions' of fog, rain, or storm (Source 1, Source 5).
Vibrant Reds/Oranges
Carmine, Vermilion
Turner used carmine despite its fugitive nature for its fresh appearance (Source 1). Likely used for sunset glows or distant fires, reflecting his interest in 'fires' and 'sunlight' (Source 5).
Opaque Whites
White gouache or lead white (historically)
Creating 'impastements' and highlights, particularly for sea foam or light reflections, as Turner’s style included opacities (Source 2).
Earthy Browns/Greens
Raw Umber, Sap Green
General landscape elements, consistent with his early training in English landscape traditions (Source 5).
composition
While specific compositional details of *Whitby* are not described in the sources, Turner’s landscapes generally include the sky as an almost always present element, with weather often being a key part of the composition (Source 3). The horizon line should likely be positioned to emphasize the sky, given Turner’s focus on atmospheric conditions and 'cloudscapes' (Source 3, Source 7). The composition should avoid exact bisections, instead using a center of interest to prevent the work from becoming a mere pattern (Source 8).
step by step
underdrawing→first pass→refining→finishing
underdrawing
step 01
Sketch the topographical features of Whitby, including the harbor and cliffs, using light graphite lines. Ensure accuracy in the basic layout, reflecting Turner’s training in topographical drawing (Source 1).
Tip — Keep lines light; they will be covered by washes.
Topographical Sketching
first pass
step 02
Apply broad, transparent washes to establish the sky and sea. Focus on creating 'atmospheric effects' rather than detailed rendering (Source 1). Use wet-on-wet techniques to blend colors softly.
Tip — Allow the paper to remain damp to encourage soft edges and illusions of fog or mist.
Atmospheric Washes
refining
step 03
Layer additional washes to deepen shadows and define forms. Turner’s style involves a 'chromatic palette' and 'broadly applied' paint (Source 4). Introduce more saturated colors in areas of light or fire.
Tip — Be mindful of pigment durability; Turner used fugitive pigments like carmine for their fresh look (Source 1).
Layering Washes
finishing
step 04
Add opaque highlights and details using white gouache or opaque watercolor. This creates 'impastements' and contrasts with the transparent washes (Source 2). Use this to depict sea foam, light reflections, or architectural details.
Tip — Apply sparingly to maintain the luminosity of the underlying washes.
Opaque Highlights
step 05
Review the overall mood. Turner aimed to convey 'mood instead of information' (Source 1). Adjust any areas that feel too detailed or rigid, softening edges to enhance the atmospheric illusion.
Tip — Step back frequently to assess the overall effect rather than focusing on individual details.
Atmospheric Adjustment
critical techniques
Atmospheric Washes
Turner used broadly applied washes to create 'curious atmospheric effects and illusions,' moving beyond neat topographical renderings to convey mood (Source 1).
Opaque Body Colors
Turner’s watercolor style included 'impastements, opacities, and transparencies,' using opaque colors to create highlights and texture (Source 2).
Fugitive Pigments
Turner chose pigments like carmine for their fresh appearance, despite their lack of durability, prioritizing immediate visual impact over longevity (Source 1).
common pitfalls
- →Using paper with chlorine bleach or cotton fillers, which can burn the linen and destroy colors over time (Source 2).
- →Over-detailing the landscape, which contradicts Turner’s goal of conveying 'mood instead of information' (Source 1).
- →Applying sizing only to the surface of the paper, which can lead to stains and irregular sponginess during prolonged work (Source 2).
- →Ignoring the potential for color fading, especially if using fugitive pigments like carmine (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.
- ·The specific year of creation for *Whitby* is not available, making it difficult to pinpoint the exact stage of Turner’s stylistic development.
- ·The sources do not describe the specific visual details of *Whitby* (e.g., exact layout of buildings, weather conditions), so the recreation relies on general Turner techniques.
- ·The exact pigment formulations Turner used for this specific work are not detailed, only his general experimentation with pigments like carmine.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Science of Painting — CHAPTER XIII. WATER COLOURS↗
- Paper — applied to Requirements for high-quality linen rag paper and the use of opaque body colors.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — J.M.W. Turner — part 8↗
- Materials — applied to Use of fugitive pigments like carmine and the influence of John Robert Cozens on atmospheric effects.
Wikipedia bio — J.M.W. Turner — part 6↗
- Style — applied to Description of Turner’s mature style with chromatic palettes and atmospheric washes.
Wikipedia bio — J.M.W. Turner — part 7↗
- Style — applied to Turner’s fascination with natural phenomena like storm, rain, and fog.
Wikipedia: Landscape painting — Landscape painting — part 1↗
- Landscape painting — applied to General principles of landscape composition, including the inclusion of sky and weather.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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