apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Allegro con brio, Bourke St. West
Allegro con brio, Bourke St. West by Tom Roberts

plate no. 0138

Allegro con brio, Bourke St. West

Tom Roberts, 1890

oilImpressionismcityscapecityscapebuildingsstreetfigurescarriagessky
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and capturing movement with loose brushstrokes. It also provides practice in simplifying complex scenes into basic shapes and values.

technical profile

palette complexity
3
brushwork visibility
4
value contrast
3
compositional simplicity
2

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes of the buildings and the street perspective.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber or a similar earth tone.

  3. step 03

    Block in the larger shapes of the buildings using a limited palette of earth tones and whites.

  4. step 04

    Add the general shapes of the crowds and carriages, focusing on their silhouettes.

  5. step 05

    Begin adding details to the buildings, such as windows and signs, using small brushstrokes.

  6. step 06

    Introduce pops of color to the figures and carriages to create visual interest.

  7. step 07

    Soften edges and blend colors to create an atmospheric effect.

  8. step 08

    Add final highlights and shadows to enhance the sense of depth and form.

color palette

primary · raw umber · burnt sienna · titanium white

secondary · cadmium red · ultramarine blue · yellow ochre

Mix browns and grays by combining the primary earth tones with small amounts of blue and red. Use white to lighten values and create subtle color variations.

techniques

  • ·dry brushing
  • ·scumbling
  • ·atmospheric perspective
  • ·broken color
  • ·alla prima

common pitfalls

  • →Getting bogged down in details too early.
  • →Creating overly sharp edges.
  • →Failing to establish a clear value structure.
  • →Using too many colors and creating a muddy effect.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)
  • ·linseed oil
  • ·palette

optional

  • ·palette knife
  • ·painting medium
  • ·easel

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