Historical Painting Techniques, Materials, and Studio Practice

Figure 6. Jan van Coym, View of Dordrecht from the Dordtse Kil, sigrled and dated 1644. Panel, 64. 7 X 95. 9 eln. Na tional Callery of Art,
Washil1gton, D. C. (1978.1.11). Alicia Mellon Bruce FUl1d.

146

that both the visible wood grain and the monochromatic palette, especially

the use of almost colorless smalt in the grayish skies, resulted from conscious

artistic choices rather than accident (13). The rapidity with which these works

must have been painted may have had an economic motive as well, lowering

the cost of production and hence enlarging the market fo r such works (14).

Conclusion

The transition from Flemish mannerist landscape to a new Dutch fo rm of

naturalistic landscape in the first decades of the seventeenth century represents

a dramatic transition in style. The mode of mythological or biblical episodes

set before brightly colored, imaginary vistas, which Flemish immigrants had

brought north, was replaced in Holland in just a few years by subdued and

sympathetic renderings of the Dutch countryside.

The preliminary results of this study of the painting techniques of the period

suggest that the change in style was accomplished by deliberate changes in

painting technique. Dutch artists modified the conventionalized Flemish land­

scape technique of light grounds, complete underdrawings, and colored un­

derpaints, which established three schematic zones of space. Instead, working

from drawings made from nature, they developed a sketchy shorthand style

in which the properties of their painting materials were exploited to evocative

effect. Thinly applied grounds and spare applications of underpaint allowed

the panels themselves to play a role in the image. Underdrawings became

quick notations upon which a more complete painted "sketch" was devel­

oped, and this monochrome image, only partially colored and worked up in

the final stage of painting, was a dominant part of the finished work.

These developments are a fascinating illustration of the ways in which political

and social changes fo ster new artistic markets. As members of Dutch society

Historical Painting Tech niques, Materials, and Studio Practice