apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·A Beach In Normandy
A Beach In Normandy by Alfred Stevens

plate no. 4416

A Beach In Normandy

Alfred Stevens, 1885

oil, panelImpressionismlandscapebeachboatsseaskyfigurestrees
some experience helpful

Recreating this painting will help students develop skills in capturing atmospheric perspective and rendering reflections on wet sand. It also provides practice in simplifying complex scenes into impressionistic brushstrokes.

technical profile

palette complexity
4
brushwork visibility
4
value contrast
3
compositional simplicity
3

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, including the horizon line, boat, figures, and tree.

  2. step 02

    Block in the large areas of color: sky, sea, sand, and foliage.

  3. step 03

    Establish the value structure, focusing on the light and shadow patterns.

  4. step 04

    Add details to the boat and figures, keeping the brushstrokes loose and expressive.

  5. step 05

    Create the reflections on the wet sand by mirroring the colors and values of the objects above.

  6. step 06

    Refine the details in the foreground, adding texture and variation to the sand and foliage.

  7. step 07

    Add the distant boats and the steamship, paying attention to their scale and placement.

  8. step 08

    Make final adjustments to the colors, values, and edges to create a cohesive and atmospheric painting.

color palette

primary · yellow ochre · cerulean blue · burnt umber

secondary · titanium white · cadmium red · viridian

Mix various shades of blue and green for the sea and sky by combining cerulean blue, white, and a touch of yellow ochre or viridian. Achieve the sandy tones by blending yellow ochre, burnt umber, and white.

techniques

  • ·broken color
  • ·wet-on-wet blending
  • ·scumbling
  • ·atmospheric perspective

common pitfalls

  • →Overworking the details and losing the impressionistic feel.
  • →Creating muddy colors by overmixing.
  • →Failing to establish a clear value structure.
  • →Ignoring the atmospheric perspective and making the distant objects too sharp and detailed.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints (yellow ochre, cerulean blue, burnt umber, titanium white, cadmium red, viridian)
  • ·palette
  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits
  • ·assorted brushes (round and flat)
  • ·rags

optional

  • ·medium gloss
  • ·easel
  • ·painting apron

A toned canvas (e.g., with a thin wash of burnt umber) can be helpful for establishing the value structure.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →color theory for painters →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

View of the Bosphorus and Rumeli Hisarı

View of the Bosphorus and Rumeli Hisarı

Sevket Dag

Paysage du Midi

Paysage du Midi

Armand Guillaumin

Self-Portrait

Self-Portrait

Frederic Bazille

Tip of the Bay

Tip of the Bay

Max Kurzweil

Long Stemmed Lovelies

Long Stemmed Lovelies

Pino Daeni

At Rosetta, Lower Egypt

At Rosetta, Lower Egypt

John Varley II

House from Oltenia

House from Oltenia

Theodor Pallady

Jewish quarter in Amsterdam

Jewish quarter in Amsterdam

Max Liebermann