White Night

surface prep

Prepare a standard oil-primed canvas. While specific preparation for *White Night* is not detailed, Munch’s later works often show evidence of a prepared ground that allowed for the visibility of underlying layers. Ensure the surface is smooth enough to allow for glazing but textured enough to hold the paint if impasto or drips are used.

underdrawing

Munch’s preparatory methods are not explicitly detailed in the provided sources. However, given his emphasis on emotional expression and simplified forms, a loose, gestural underdrawing in charcoal or thinned paint is likely. Avoid rigid linear precision; focus on the overall composition and atmospheric mood.

underpainting

Create a monochrome underpainting (grisaille) using black, ultramarine, and white, mixed with oil of copavia or linseed oil (Source 1). This layer should establish the values and composition without color, allowing the artist to mentally extract red and yellow tones to be added later (Source 1). This technique aligns with the historical method described by Sir Joshua Reynolds and practiced by old masters, which Munch may have adapted for his expressive purposes.

Glazing and Scumbling

Used to build up color and texture in layers. Glazing adds transparency, while scumbling adds semi-opaque texture, particularly over dark grounds to create coldness (Source 1).

Drip Effect

Munch began allowing drips in his paintings, using highly diluted paint to create a sense of movement and emotional instability (Source 6).

Complementary Color Juxtaposition

Placing complementary colors next to each other enhances their intensity. For example, red beside blue verges on orange, making it more orange (Source 2). This can be used to intensify the emotional impact of the landscape.