apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·A Roman alley
A Roman alley by Ernst Meyer

plate no. 4143

A Roman alley

Ernst Meyer

oilRomanticismcityscapearchitecturecolumnsalleybuildingcityscapearches
some experience helpful

Recreating this painting will help students develop skills in rendering architectural forms with accurate perspective and understanding subtle tonal variations to create depth and atmosphere. It also provides practice in creating texture with brushwork.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic architectural structure, paying attention to perspective and proportions.

  2. step 02

    Establish the main light and shadow areas with a thin wash of burnt umber or a similar earth tone.

  3. step 03

    Block in the local colors of the buildings, columns, and ground, using a limited palette.

  4. step 04

    Begin refining the details of the columns and arches, adding highlights and shadows to create form.

  5. step 05

    Develop the texture of the walls and cobblestones with varied brushstrokes.

  6. step 06

    Add details like the window and any other small architectural elements.

  7. step 07

    Adjust the overall values and colors to create a sense of depth and atmosphere.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · raw umber · titanium white · yellow ochre

secondary · burnt sienna · ivory black

Achieve the various stone and wall colors by mixing raw umber, yellow ochre, and titanium white in different proportions. Add small amounts of burnt sienna for warmth and ivory black for cooler shadows.

techniques

  • ·tonal painting
  • ·dry brushing
  • ·scumbling
  • ·atmospheric perspective

common pitfalls

  • →Getting the perspective wrong, leading to a distorted image.
  • →Overworking the details too early, before establishing the overall values.
  • →Using too much color, resulting in a painting that looks unnatural.
  • →Failing to create a sense of depth and atmosphere.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·ivory black oil paint
  • ·linseed oil
  • ·turpentine or odorless mineral spirits

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

A toned canvas with a thin wash of burnt umber can be helpful for establishing the initial values.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

Romantic Landscape

Romantic Landscape

Karl Lessing

Self-portrait with his brother Francesco

Self-portrait with his brother Francesco

Giuseppe Tominz

Oenone Refuse de Secourir Pâris au Siège de Troie

Oenone Refuse de Secourir Pâris au Siège de Troie

Léon Cogniet

Duke of Alba

Duke of Alba

Francisco Goya

Blick Aus Dem Wald Ins Tal

Blick Aus Dem Wald Ins Tal

Andreas Achenbach

Young Girl Fixing Her Hair

Young Girl Fixing Her Hair

Sophie Gengembre Anderson

The Plough Inn

The Plough Inn

William Shayer

Hudson River Landscape

Hudson River Landscape

Johann Hermann Carmiencke