apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Above Rydal Mount, Ambleside
Above Rydal Mount, Ambleside by David Bates

plate no. 0938

Above Rydal Mount, Ambleside

David Bates, 1897

oilRealismlandscapelandscapetreeshillscloudsfigurescart
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and layering techniques to create depth. It also provides practice in depicting foliage and natural textures with loose brushwork.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the horizon line and major shapes.

  2. step 02

    Establish the sky with light blue and white, blending softly.

  3. step 03

    Block in the distant hills with muted blues and greens, using lighter values for areas further away.

  4. step 04

    Add the main tree masses, using darker greens and browns, varying the tones to create depth.

  5. step 05

    Define the foreground field with a mix of greens, yellows, and browns, adding texture with broken brushstrokes.

  6. step 06

    Paint the figures and the cart, keeping them relatively small and simple.

  7. step 07

    Add details to the trees and foliage, using a dry brush technique for texture.

  8. step 08

    Refine the overall composition and adjust values as needed.

color palette

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

secondary · cadmium yellow · alizarin crimson · viridian green

Mix greens by blending yellow ochre and ultramarine blue, adjust with white for lighter shades. Create atmospheric perspective by adding white to colors for distant elements.

techniques

  • ·atmospheric perspective
  • ·broken color
  • ·dry brush
  • ·layering
  • ·scumbling

common pitfalls

  • →Overworking details in the distant landscape.
  • →Creating too much contrast in the background.
  • →Making the foreground too bright and distracting.
  • →Not varying the greens enough, resulting in a flat appearance.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·round brushes
  • ·flat brushes
  • ·palette
  • ·linseed oil
  • ·turpentine

optional

  • ·palette knife
  • ·painting medium
  • ·easel

Use a medium-sized canvas (e.g., 16x20 inches) for manageable detail. Consider using a toned canvas to establish a base color.

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 James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy