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home·artworks·Après l'Office à l'Eglise de la Ste-Trinité
Après l'Office à l'Eglise de la Ste-Trinité by Jean Béraud

plate no. 6668

Après l'Office à l'Eglise de la Ste-Trinité

Jean Béraud, 1900

oilImpressionismgenre paintingcityscapefiguresbuildingtreeshorse-drawn carriagestreet
experienced study

Recreating this painting will help students develop skills in atmospheric perspective, rendering figures in motion, and capturing the subtle nuances of light and shadow in a complex urban scene. It also offers practice in creating a sense of depth through layering and diminishing detail.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes and perspective lines of the building, street, and figures.

  2. step 02

    Establish the overall value structure with a thin wash of neutral color, paying attention to light and shadow.

  3. step 03

    Block in the main colors of the building, sky, and street, focusing on accurate color relationships.

  4. step 04

    Begin adding details to the building, including windows, architectural elements, and foliage.

  5. step 05

    Paint the figures, starting with the larger shapes and gradually adding details like clothing and faces.

  6. step 06

    Render the horse-drawn carriages, paying attention to their form and the way light interacts with them.

  7. step 07

    Add the bare trees, using thin, delicate brushstrokes to create a sense of depth and atmosphere.

  8. step 08

    Refine the details and adjust the values to create a cohesive and believable scene.

color palette

primary · raw umber · titanium white · ultramarine blue

secondary · cadmium red · yellow ochre · ivory black

Mix various shades of gray and brown by combining raw umber, ultramarine blue, and titanium white. Add touches of cadmium red and yellow ochre to create warmer tones for the figures and buildings.

techniques

  • ·atmospheric perspective
  • ·scumbling
  • ·broken color
  • ·layering
  • ·alla prima

common pitfalls

  • →Getting lost in the details too early.
  • →Failing to establish a strong value structure.
  • →Overworking the painting and losing the freshness of the brushstrokes.
  • →Ignoring the principles of perspective and creating a flat, unrealistic scene.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·odorless mineral spirits

optional

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

Use a medium-grain canvas for best results. Consider toning the canvas with a thin wash of raw umber before starting to create a warmer base.

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related guides

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