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home·artworks·Abbey of St. Berlin, near St. Omer
Abbey of St. Berlin, near St. Omer by Richard Parkes Bonington

plate no. 2076

Abbey of St. Berlin, near St. Omer

Richard Parkes Bonington, 1823

oil, canvasRomanticismcityscaperuinsarchitecturearchescolumnsskyvegetation
some experience helpful

This painting offers practice in rendering architectural forms with light and shadow, as well as creating a sense of depth through atmospheric perspective. Students can also learn to simplify complex details and focus on capturing the overall impression of the scene.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main architectural elements and their perspective.

  2. step 02

    Establish the basic color blocks for the sky, ruins, and foreground vegetation.

  3. step 03

    Begin layering in the shadows and highlights on the columns and arches, paying attention to the direction of light.

  4. step 04

    Add details to the architectural elements, simplifying complex patterns.

  5. step 05

    Develop the foreground vegetation with loose brushstrokes and varying shades of green and brown.

  6. step 06

    Soften edges and blend colors to create a sense of atmosphere.

  7. step 07

    Add final details, such as the figure and any small highlights.

  8. step 08

    Review and adjust the overall composition and color balance.

color palette

primary · yellow ochre · raw umber · titanium white

secondary · ultramarine blue · burnt sienna

Mix yellow ochre and raw umber with white for the stone. Use ultramarine blue and white for the sky. Create variations in the stone color by adding small amounts of burnt sienna or ultramarine.

techniques

  • ·scumbling
  • ·glazing
  • ·atmospheric perspective
  • ·chiaroscuro
  • ·dry brushing

common pitfalls

  • →Overworking details and losing the overall impression.
  • →Creating harsh lines and edges.
  • →Failing to establish a clear light source.
  • →Ignoring atmospheric perspective and flattening the image.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints (yellow ochre, raw umber, titanium white, ultramarine blue, burnt sienna)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·palette
  • ·assorted brushes (round and flat)
  • ·palette knife
  • ·rags

optional

  • ·medium (e.g., Liquin)
  • ·varnish

A toned canvas (e.g., with a thin wash of raw umber) can be helpful for establishing values.

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oil painting for beginners →how to learn by studying the masters →
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