apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Allegro (Sonata of the Serpent)
Allegro (Sonata of the Serpent) by Mikalojus Konstantinas Ciurlionis

plate no. 1669

Allegro (Sonata of the Serpent)

Mikalojus Konstantinas Ciurlionis, 1908

paper, temperaSymbolismsymbolic paintingarchitecturelandscapebridgesmountainstreesfigures
some experience helpful

Recreating this painting will help students develop skills in creating atmospheric perspective and rendering detailed architectural elements with a limited color palette.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main architectural structures and landscape elements, paying attention to perspective.

  2. step 02

    Apply a thin wash of diluted yellow ochre or raw sienna to the entire paper as a base tone.

  3. step 03

    Begin layering in the sky and distant landscape with very diluted blues and greens, creating a sense of atmospheric perspective.

  4. step 04

    Start building up the architectural details with slightly more concentrated greens and blues, defining the stones and arches.

  5. step 05

    Add darker values to the shadows and crevices of the structures to create depth.

  6. step 06

    Use a fine brush to add details like the figures and the serpentine path.

  7. step 07

    Glaze over areas with diluted washes to unify the colors and create a soft, dreamlike quality.

  8. step 08

    Add final highlights with a very light, almost white, green or blue.

color palette

primary · yellow ochre · cerulean blue · sap green

secondary · raw sienna · ultramarine blue

Mix greens by blending yellow ochre and cerulean blue. Vary the intensity of colors by diluting with water or adding small amounts of white or raw sienna.

techniques

  • ·glazing
  • ·atmospheric perspective
  • ·dry brushing
  • ·linear perspective

common pitfalls

  • →Overworking the details and losing the soft, ethereal quality.
  • →Using colors that are too saturated and overpowering the subtle tones.
  • →Ignoring the principles of atmospheric perspective, resulting in a flat image.
  • →Not diluting the paints enough, creating a heavy, opaque look.

materials

surface · watercolor paper 140lb

required

  • ·Tempera paints
  • ·Watercolor paper (140lb)
  • ·Round brushes (sizes 0, 2, 4)
  • ·Flat brush (size 6)
  • ·Palette
  • ·Water container
  • ·Pencil
  • ·Eraser

optional

  • ·palette knife
  • ·ruler

Use high-quality tempera paints for best results. Experiment with different dilutions to achieve the desired effects.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Satan Addressing his Potentates

Satan Addressing his Potentates

William Blake

Self-portrait in studio

Self-portrait in studio

Franz Stuck

Tajik

Tajik

Kuzmá Petrov-Vodkin

View from the studio in Eerbeek

View from the studio in Eerbeek

Jan Mankes

Harlequin's garden

Harlequin's garden

Serge Sudeikin

Incantation

Incantation

Felicien Rops

Anzac, the Landing

Anzac, the Landing

George Washington Lambert

Paisatge

Paisatge

Joan Brull