apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·At the Gate
At the Gate by Grant Wood

plate no. 7160

At the Gate

Grant Wood, 1926

oilImpressionismcityscapedoorbuildingarchitecturestreetshadowsstone
some experience helpful

Recreating this painting will help students develop skills in depicting light and shadow on architectural forms and creating texture with visible brushstrokes. Students will also learn to simplify complex forms into basic shapes.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes of the door, walls, and ground, paying attention to perspective.

  2. step 02

    Establish the main light and shadow areas using a thin wash of burnt umber.

  3. step 03

    Begin building up the texture of the stone walls and ground with short, broken brushstrokes.

  4. step 04

    Mix variations of browns and ochres to create the different tones in the stonework.

  5. step 05

    Add details to the door and its frame, focusing on the highlights and shadows.

  6. step 06

    Refine the shadows and highlights to create depth and dimension.

  7. step 07

    Add final details such as the door handle and the drain in the foreground.

  8. step 08

    Adjust the overall color balance and contrast as needed.

color palette

primary · burnt umber · raw sienna · titanium white

secondary · yellow ochre · cadmium red light

Mix various shades of brown by combining burnt umber, raw sienna, and white. Add small amounts of yellow ochre or cadmium red to warm up the colors.

techniques

  • ·dry brush texture
  • ·broken color
  • ·scumbling
  • ·layering
  • ·value study

common pitfalls

  • →Overworking the details
  • →Ignoring the overall value structure
  • →Using too much detail in the shadows
  • →Not varying the brushstrokes enough

materials

surface · stretched canvas

required

  • ·stretched canvas 12x16
  • ·#4 round brush
  • ·#6 flat brush
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·palette

optional

  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits

Use a canvas with a medium texture to help create the broken color effect. 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