plate no. 8927

Bluebonnets, Late Afternoon, North of San Antonio

Robert Julian Onderdonk, 1920

oilImpressionismlandscapeflowerslandscapetreeshillsskyfield

some experience helpful

Recreating this painting will help students develop skills in layering colors to create depth and texture, and in using brushstrokes to suggest form rather than define it precisely. It also provides practice in creating atmospheric perspective.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 8 hrs

approach — 8 steps

step 01
Sketch the basic composition, including the horizon line, the major tree masses, and the general shape of the flower field.
step 02
Establish the sky color with a thin wash of pale blue, fading slightly towards the horizon.
step 03
Block in the distant hills with muted blues and purples, paying attention to atmospheric perspective (lighter and less saturated in the distance).
step 04
Begin layering in the trees, using darker greens and browns in the shadows and brighter greens where the light hits.
step 05
Start building up the flower field with varying shades of blue, using short, broken brushstrokes to create texture and suggest individual flowers.
step 06
Add highlights to the flowers with lighter blues and touches of white or yellow.
step 07
Refine the details in the foreground, adding darker shadows and brighter highlights to create depth.
step 08
Add final touches and adjust colors as needed to achieve the desired effect.

color palette

primary · ultramarine blue · cadmium yellow · titanium white

secondary · burnt umber · sap green · violet

Mix various shades of blue by combining ultramarine blue with white, and a touch of violet. Create greens by mixing cadmium yellow and sap green, and adjust the value with white or burnt umber. Achieve atmospheric perspective by adding white and a touch of violet to the colors of the distant hills.

techniques

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

common pitfalls

→Overworking the flower field and losing the sense of texture.
→Making the distant hills too saturated and losing the atmospheric effect.
→Using too much detail in the background, which can flatten the composition.
→Not varying the brushstrokes enough, resulting in a monotonous texture.

materials

surface · stretched canvas

required

·stretched canvas (12x16 or similar)
·oil paints (ultramarine blue, cadmium yellow, titanium white, burnt umber, sap green, violet)
·palette
·palette knife
·assorted brushes (round and flat)
·linseed oil or other painting medium

optional