apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Birmingham Reference Library, the Reading Room
Birmingham Reference Library, the Reading Room by Edward R. Taylor

plate no. 0500

Birmingham Reference Library, the Reading Room

Edward R. Taylor, 1881

oilRomanticisminteriorlibrarycolumnsbooksfiguresarchitectureinterior
experienced study

Recreating this painting will help students develop skills in perspective, rendering architectural details, and creating atmospheric depth with subtle color variations. It also provides practice in depicting figures in a realistic setting.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the perspective and placement of major elements like columns, tables, and figures.

  2. step 02

    Rough in the basic shapes and values of the columns and architectural details using a thin wash of burnt umber.

  3. step 03

    Block in the general areas of the bookshelves and the floor, paying attention to the diminishing perspective.

  4. step 04

    Start adding details to the columns, focusing on the highlights and shadows to create a sense of volume.

  5. step 05

    Begin to define the figures, using simple shapes and values to suggest their forms.

  6. step 06

    Add details to the books on the shelves, using a small brush to create the illusion of texture and depth.

  7. step 07

    Refine the lighting and shadows throughout the painting, paying attention to the way light interacts with the various surfaces.

  8. step 08

    Add final details, such as the books on the tables and the architectural ornamentation.

color palette

primary · burnt umber · raw sienna · titanium white

secondary · ivory black · yellow ochre

Achieve the warm, muted tones by mixing burnt umber and raw sienna with varying amounts of white. Use black sparingly to create shadows and depth. Yellow ochre can be used to add warmth to the highlights.

techniques

  • ·linear perspective
  • ·atmospheric perspective
  • ·glazing
  • ·scumbling
  • ·chiaroscuro

common pitfalls

  • →Incorrect perspective can ruin the illusion of depth.
  • →Overworking the details can make the painting look stiff and unnatural.
  • →Using too much black can make the painting look muddy.
  • →Ignoring the subtle color variations can make the painting look flat.

materials

surface · stretched canvas

required

  • ·stretched canvas (18x24 inches)
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·yellow ochre oil paint
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round, flat, filbert)

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a high-quality canvas and artist-grade oil paints for best results. Allow each layer of paint to dry before applying the next.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Romantic Landscape

Romantic Landscape

Karl Lessing

Self-portrait with his brother Francesco

Self-portrait with his brother Francesco

Giuseppe Tominz

Oenone Refuse de Secourir Pâris au Siège de Troie

Oenone Refuse de Secourir Pâris au Siège de Troie

Léon Cogniet

Duke of Alba

Duke of Alba

Francisco Goya

Blick Aus Dem Wald Ins Tal

Blick Aus Dem Wald Ins Tal

Andreas Achenbach

Young Girl Fixing Her Hair

Young Girl Fixing Her Hair

Sophie Gengembre Anderson

The Plough Inn

The Plough Inn

William Shayer

Hudson River Landscape

Hudson River Landscape

Johann Hermann Carmiencke