apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·At the Beach
At the Beach by Edward Henry Potthast

plate no. 7606

At the Beach

Edward Henry Potthast, 1918

oilImpressionismgenre paintingbeachoceanfigureswavessandsky
some experience helpful

Recreating this painting will help students develop skills in capturing movement and using broken color to depict light and atmosphere. It's a good exercise in simplifying complex scenes into impressionistic brushstrokes.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Block in the large areas of color: sky, ocean, sand, and figures, using thin washes.

  3. step 03

    Start building up the waves with thicker paint, using short, broken brushstrokes.

  4. step 04

    Add details to the figures, focusing on capturing their movement and form.

  5. step 05

    Refine the colors and values in the sky and sand, adding subtle variations.

  6. step 06

    Create the impression of water splashing around the figures' feet.

  7. step 07

    Add highlights to the waves and figures to create a sense of light.

  8. step 08

    Review and adjust the overall composition and color balance.

color palette

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

secondary · viridian green · cadmium orange · alizarin crimson

Mix blues and whites with touches of yellow ochre for the sky. Use viridian green and ultramarine blue for the ocean, adding white for highlights. Mix burnt umber and cadmium orange for the figures' skin tones and clothing.

techniques

  • ·broken color
  • ·wet-on-wet blending
  • ·scumbling
  • ·alla prima
  • ·impasto

common pitfalls

  • →Overworking the details and losing the impressionistic feel.
  • →Creating muddy colors by over-mixing.
  • →Failing to capture the sense of movement in the figures and waves.
  • →Ignoring the subtle color variations in the sky and sand.

materials

surface · stretched canvas

required

  • ·stretched canvas (12x16 inches)
  • ·oil paints (ultramarine blue, titanium white, yellow ochre, burnt umber, viridian green)
  • ·round brushes (#2, #4, #6)
  • ·flat brushes (#4, #8)
  • ·palette
  • ·linseed oil
  • ·odorless mineral spirits
  • ·rags

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a medium-textured canvas to enhance the brushstrokes. 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 →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