apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Abendliches Treffen Der Fischer in Einer Taverne Von Mergellina Bei Neapel
Abendliches Treffen Der Fischer in Einer Taverne Von Mergellina Bei Neapel by Hermann David Salomon Corrodi

plate no. 2139

Abendliches Treffen Der Fischer in Einer Taverne Von Mergellina Bei Neapel

Hermann David Salomon Corrodi, 1905

canvas, oilAcademicismlandscapebuildingswaterfiguresboatsskyclouds
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and rendering complex scenes with multiple figures and architectural elements. It also provides practice in capturing the subtle nuances of light and shadow on water and buildings.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the buildings, figures, and horizon line.

  2. step 02

    Establish the sky with a base layer of light blue, gradually adding variations in tone and cloud shapes.

  3. step 03

    Block in the large shapes of the buildings, using a light ochre or beige color.

  4. step 04

    Define the water with horizontal strokes, capturing the reflections of the sky and buildings.

  5. step 05

    Add details to the figures, paying attention to their proportions and gestures.

  6. step 06

    Refine the architectural details, including windows, doors, and decorative elements.

  7. step 07

    Add highlights and shadows to create depth and dimension.

  8. step 08

    Finish with subtle glazes to unify the colors and create a sense of atmosphere.

color palette

primary · ultramarine blue · raw umber · titanium white · yellow ochre

secondary · burnt sienna · cadmium red light · viridian

Mix various shades of blue and white for the sky. Use raw umber and yellow ochre for the buildings, adding burnt sienna for warmer tones. Create the water's reflections by mixing colors from the sky and buildings.

techniques

  • ·atmospheric perspective
  • ·broken color
  • ·glazing
  • ·scumbling
  • ·rendering figures

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Ignoring the effects of atmospheric perspective.
  • →Creating muddy colors by overmixing.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints (ultramarine blue, raw umber, titanium white, yellow ochre, burnt sienna, cadmium red light, viridian)
  • ·linseed oil
  • ·turpentine
  • ·palette
  • ·assorted brushes (round, flat, filbert)
  • ·palette knife

optional

  • ·retouch varnish
  • ·easel
  • ·painting medium

Use a medium-grain canvas for optimal texture. Consider using a limited palette to simplify the color mixing process.

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

Portrait of a Young Woman

Portrait of a Young Woman

George Demetrescu Mirea

A View of the Tomb of the Caliphs with the Pyramids of Giza Beyond, Cairo

A View of the Tomb of the Caliphs with the Pyramids of Giza Beyond, Cairo

Hermann David Salomon Corrodi

My daughters, Eva and Jeanne

My daughters, Eva and Jeanne

Diogène Maillart

The Reluctant Bride

The Reluctant Bride

Auguste Toulmouche

The Proposal

The Proposal

Wladyslaw Czachorski

The Dressing Room

The Dressing Room

Henri-Pierre Picou

Girl with pinks

Girl with pinks

Wladyslaw Czachorski

Self-Portrait

Self-Portrait

George Demetrescu Mirea