plate no. 9820

Winter Landscape at Arnhem

oilBaroquelandscapewinterlandscapefiguresbuildingsskyice

what to study here

It shows how sharp near architecture, soft distant haze, and tiny dark figures on quiet ice can organize a busy winter scene.

Study how the painter stages a crowded scene on a flat, unified ice surface. The vision analysis puts the frozen river at the center of the picture, with dozens of figures and animals drawn in loose, economical strokes: just enough to read as bodies and movement. The ice itself is smooth, with subtle value shifts rather than texture, so it stays flat and recessive and the small dark figures carry the interest. Edge control does the depth work. The fortifications and church towers on the right are crisp and warm, while the distant city and the clouds soften and cool into haze. Values fall into three bands: pale sky, a mid-tone landscape with architecture, and scattered dark accents in the tree, building shadows, and figure silhouettes. Light comes from the upper left and warms the clouds. Copy the figures as quick dark marks, and keep the near buildings as your sharpest edges.

key decision

The painter keeps the ice smooth and mid-toned, with only subtle value shifts, and puts crisp edges and warm color in the near buildings. Sharpness and small dark accents then lead the eye through the scene.

recreation guide

Salomon van Ruysdael’s *Winter Landscape at Arnhem* is a quintessential example of the Dutch Baroque landscape tradition, characterized by a 'classical' phase that emphasizes grandiose effects through vigorous contrasts of solid form against the sky and light against shade (Source 3). Unlike the earlier 'tonal' phase which relied on atmospheric suggestion, Ruysdael’s work often features prominent forms, such as trees or structures, singled out against the background to create a heroic character (Source 2). The painting likely employs a restricted palette typical of his coastal or winter scenes, potentially utilizing black, white, blue, and earth tones to convey the starkness of the season (Source 2). The composition is designed to organize visual elements—line, shape, value, and space—to guide the viewer’s eye through the landscape, emphasizing mass and volume rather than minute detail (Source 5, Source 8).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (Lead White, Yellow Ochre, Raw Umber, Blue Earth/Lapis Lazuli substitute, Carbon Black)	To achieve the restricted, harmonious palette characteristic of Ruysdael's winter and coastal scenes.	Titanium White, Cadmium Yellow Light, Burnt Umber, Cerulean Blue, Mars Black
Linseed oil	Medium for binding pigments and creating transparent glazes.	Refined Linseed Oil
Canvas or Oak Panel	Support for the oil painting.	Linen canvas primed with gesso
Charcoal or Black Chalk	For initial contour drawing and underdrawing.	Vine charcoal or compressed charcoal

preparation

surface prep

Prepare a smooth, white or light-toned ground. Ruysdael’s classical phase relied on strong contrasts of light and shade; a light ground facilitates the building up of forms through transparent glazes and highlights. While specific preparation for this exact work is not detailed, the general practice of the period involved a gesso or chalk ground to enhance the luminosity of the oil layers.

underdrawing

Begin with a contour drawing to establish the mass and volume of the landscape elements. Use charcoal or black chalk to outline the major forms—trees, riverbanks, and sky boundaries—focusing on the silhouette and three-dimensional perspective rather than fine details. This aligns with the technique of contour drawing, which emphasizes form, weight, and space (Source 8).

underpainting

Apply a monochromatic underpainting (grisaille or brunaille) using earth tones (Raw Umber, Yellow Ochre) to establish the value structure. This step is crucial for managing the 'vigorous contrasts of solid form against the sky' mentioned in the artist's style (Source 3). It allows the artist to resolve compositional issues before applying color.

color palette

White/Off-White

Lead White (historical) / Titanium White (modern)

Snow, ice, and highlights in the sky. Essential for the 'restricted palette' of black, white, blue, and brown earth colors noted in Ruysdael's dramatic scenes (Source 2).

Blue

Blue Earth or Lapis Lazuli (historical) / Cerulean or Ultramarine (modern)

Sky and shadows on snow. Part of the restricted palette used for atmospheric effect (Source 2).

Brown Earth

Raw Umber, Yellow Ochre

Tree trunks, distant land, and underpainting. Provides the 'brown earth colors' mentioned in the source (Source 2).

Black

Carbon Black or Lamp Black

Deep shadows and silhouettes. Used in the restricted palette to create contrast (Source 2).

composition

The composition should organize elements to create a 'grandiose effect' with solid forms contrasting against the sky (Source 3). Likely, a prominent tree or structure is singled out to anchor the scene (Source 3). The arrangement should guide the eye through the landscape using line and shape, ensuring that the mass and volume of the forms are clear (Source 5, Source 8). Avoid clutter; the focus is on the outlined shape and the relationship between positive and negative space (Source 5, Source 8).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the major contours of the landscape, focusing on the silhouette of trees, the river, and the sky line. Do not worry about details; emphasize the mass and volume of the forms.
Tip — Look at the subject (or reference) and the canvas alternately to capture the essence of the shape. Use lighter lines for distant elements to suggest depth (Source 8).
Contour Drawing

underpainting

step 02
Apply a thin wash of earth tones to establish the light and shadow structure. Define the 'vigorous contrasts' between the solid forms and the sky.
Tip — Ensure the values are correct before adding color. This prevents the 'smallness' or over-modeling that can detract from the broad masses (Source 1).
Grisaille/Brunaille

first pass

step 03
Begin applying color in broad strokes, adhering to the restricted palette of white, blue, black, and earth tones. Block in the sky and snow first.
Tip — Keep the colors harmonious. Remember that colors may appear different due to simultaneous contrast; adjust hues based on their neighbors (Source 6, Source 7).
Alla Prima (initial layers)

refining

step 04
Refine the forms of the trees and landscape elements. Enhance the contrast between light and shade to achieve the 'classical' grandiose effect.
Tip — Avoid getting 'tied down to your outline.' Depart from the initial sketch if necessary to improve the composition and flow (Source 1).
Glazing and Scumbling

finishing

step 05
Add final highlights and deep shadows. Ensure the 'solid form against the sky' is distinct and impactful.
Tip — Check the overall harmony. The picture should please by the harmony of local colors and their gradation, even if not strictly 'true' to nature (Source 6).
Impasto (for highlights)

critical techniques

Contour Drawing

Used to establish the mass and volume of the landscape elements, focusing on the outlined shape rather than minor details. This technique helps in conveying three-dimensional perspective (Source 8).

Contrast of Light and Shade

Ruysdael’s classical phase is defined by vigorous contrasts of solid form against the sky and light against shade. This creates a grandiose effect and highlights key elements like trees or structures (Source 3).

Restricted Palette

Using a limited range of colors (black, white, blue, brown earth) to create harmony and dramatic effect, particularly in winter or coastal scenes (Source 2).

Simultaneous Contrast

Adjusting colors based on their interaction with neighboring hues. The artist must perceive how contiguous colors modify each other to achieve harmony (Source 7).

common pitfalls

→Over-modeling or getting 'tied down to your outline,' which can make the painting appear timid or small. Instead, focus on broad masses and confident departures from the initial sketch (Source 1).
→Ignoring the harmony of colors. A picture may be 'true' in color but disagreeable if the colors are not harmonious. Adjust for the effect of simultaneous contrast (Source 6, Source 7).
→Failing to establish strong contrasts between solid forms and the sky, which is essential for the 'classical' grandiose effect characteristic of Ruysdael (Source 3).
→Using a palette that is too varied or bright, which would contradict the restricted, harmonious tone of Ruysdael’s winter scenes (Source 2).

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 *Winter Landscape at Arnhem* composition (e.g., exact placement of trees, river flow) are not described in the sources, so general compositional principles are applied.
·The exact pigments used by Ruysdael for this specific work are not listed; the palette is inferred from his general practice in winter/coastal scenes.
·The specific underpainting technique (grisaille vs. brunaille) is not explicitly stated for this work, so a general earth-tone underpainting is recommended.
·The exact year of creation is not available, so the technique is based on his 'classical' phase generally.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting — ON COPYING↗
- Advice on Copying — applied to Step-by-Step Process (Avoiding over-modeling)
Laws of Contrast of Colour↗
- Harmony of Colours — applied to Color Palette and Critical Techniques (Simultaneous Contrast)

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia bio — Salomon van Ruysdael — part 8↗
- Classical Phase — applied to Overview and Critical Techniques (Contrast of Light and Shade)
Wikipedia bio — Salomon van Ruysdael — part 5↗
- Landscape Painting Composition — applied to Overview and Color Palette (Restricted Palette)
Wikipedia: Contour drawing↗
- Technique — applied to Underdrawing and Critical Techniques (Contour Drawing)
Wikipedia: Composition (visual arts)↗
- Elements of Design — applied to Composition Notes

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 enters from the upper left, warming the sky and illuminating the massive cumulus clouds in cool cream and pale ochre. Your eye lands first on the frozen river—the painting's true subject—where dozens of figures and animals animate the ice, creating a narrative sweep from the busy foreground to the hazy cityscape beyond. The medieval fortifications and church towers on the right anchor the composition and frame the activity; a tent structure and moored boat on the left create balance. Atmospheric perspective pulls the distant city back through softening and cooling, while the sharp architecture in the middle ground sits visibly closer.

value structure

The darkest darks are concentrated in the tree on the far left, the shadow cores of buildings, and the silhouettes of figures—these anchor the composition. The lightest lights are the cloud masses and sky near the horizon, with secondary highlights on the ice surface and building walls catching light. The mid-tones—warm building façades, the gray-brown ice, and the figures themselves—dominate the visual weight. Squint and you see three clear value bands: pale sky, mid-tone landscape with architecture, and scattered dark accents of activity.

observed palette and mixes

#b19874
titanium white + yellow ochre + touch of burnt sienna
upper clouds and sky highlights where warm light glows
#a28f71
yellow ochre + raw umber + white
the brick and stone buildings, their warm-lit faces
#807b6d
ultramarine blue + raw umber + white
the ice surface and its shadow areas, the cool distant city
#757166
raw umber + ultramarine blue + white
mid-tone shadows on buildings and transitions in the landscape
#8f8571
yellow ochre + raw umber + ultramarine blue
muted mid-tones in buildings and the sandy riverbank
#4b371e
ivory black + burnt sienna + raw umber
the dark tree, deep building shadows, figure silhouettes

edges and brushwork

Crisp, controlled edges define the fortifications and nearby buildings—you can read the architectural detail and understand the stone forms. The sky and distant city soften dramatically, with clouds blending into the pale ochre horizon and the far bank dissolving into atmospheric haze. Figures are suggested with loose, economic brushstrokes—just enough to read as bodies and movement without anatomical detail. The ice is handled smoothly with subtle value shifts rather than texture, keeping it convincingly flat and recessive.

a working sequence

01
Composition block-in
Lightly sketch the horizon line (roughly one-third down), the fortification masses on the right, and the key architectural silhouettes. Mark the frozen river as your horizontal baseline, noting that it's the focal stage. Place the tent and tree on the left as anchors. Work loose and proportional—these are just placement guides.
02
Establish the sky and clouds
Begin with pale ochre-cream in the upper sky and warmed highlights on the clouds. Work in cool grays and blues for the shadow sides of clouds and for the sky where it's away from the light source. Keep edges soft—these clouds should feel atmospheric, not carved. The horizon should be warmer (more cream) than the upper sky (more blue-gray).
03
Block the ice and water
Lay down the ice as a unified cool gray-tan with subtle value shifts—slightly darker where shadows fall from buildings, slightly warmer where light touches it. Don't overwork it; the ice is your blank stage that will receive figures and details. The water visible at the edges should be darker, reading almost black by contrast.
04
Paint the fortifications and buildings
Block in the main building masses using warm ochre and tan mixed with shadow. The nearest tower on the right should be most detailed and warmest. The church and distant structures fade cooler and less distinct. Pay attention to the roofline and the way the buildings sit on the riverbank—they're elevated, not floating on the ice.
05
Add the foreground narrative—figures and animals
Now populate the ice with small figures, horses, and dogs using quick gestural strokes in dark brown and black. They're silhouettes and simple forms, not portraits. Vary their distribution: denser near the tent and left foreground, more scattered toward the center. Include a few figures in the water at the riverbanks for scale and interest.
06
Define the distant city skyline
Where the ice meets the far bank, suggest the distant city with cool, muted spires and building shapes in pale gray-blue. These should be barely more than silhouettes, reading as depth through their softness and cool temperature. Let them fade into the haze; no detail should be crisp.
07
Refine architecture and atmospheric effects
Go back into the fortifications and church tower with sharper edges and warm accent lights. Define the dark tree on the left. If the ice feels too flat, add a few cast shadows from the buildings and figures to give it dimension. Soften any hard edges that sit in mid-distance where they should be losing focus.
08
Final check and unification
Step back and assess the value structure: is your darks-to-lights range convincing? Is the sky reading as atmospheric and receding? Do the figures feel integrated into the scene or pasted on? Make small adjustments to edges and a few accent touches of warm light in the clouds if needed. The tent structure on the left should be readable but not competing with the buildings.

where studies of this painting go wrong

Over-detailing the distant city and ice—they should feel soft and atmospheric. Resist the urge to define every spire; suggest, don't describe.
Making figures too large or detailed. They're crowd activity, not portraiture. A few quick dark strokes read as a person; a fully rendered figure looks stiff and breaks the narrative.
Losing the architectural crisp edges on the fortifications in pursuit of overall softness. The near buildings must be your sharpest, warmest edges so the eye knows where to focus.
Muddying the ice by adding too much local color variation. The ice surface should feel unified and cool, with shadow and light shifts rather than browns and greens creeping in.
Pushing the sky too blue early on. This is a warm, hazy winter day—keep the sky pale and cream-toned until you add blue only in the shadow areas of clouds.

measured difficulty