Technique and condition
The surface paper is sized with animal glue (not tested) and has received a washy dark brown priming layer which has pooled in the hollows of the paper texture and left the peaks bare. This creates a warm mottled appearance instead of a block of colour. The landscape is painted in leaving large areas of the priming and bare sized paper visible, to contribute to the mottled earth appearance. The sky is the most highly finished area. Sweeping brushstrokes are visible and it is mostly solid colour with tiny areas of ground exposed where the brush has skipped over a hollow. The sky finishes where it meets the foliage of the trees, which are a combination of thinly painted areas where the priming is allowed to play an important role and thick impasto. The artist appears to have loaded his brush with several different colours at once and mixed them on the painting, creating streaked colourful touches instead of single colours. The foliage is feathered into the sky, wet in wet and in places the sky has been extended over the foliage as a pentimento.
The painting has an even glossy varnish which appears relatively recent and is easily disrupted as is evident from abrasion around the edges.