plate no. 4363

Bridge over the Oise to Vadencourt

Auguste Herbin, 1912

oilCubismlandscapelandscapebuildingstreeswaterbridgearchitecture

some experience helpful

Recreating this painting will help students understand how to break down complex scenes into geometric shapes and use color to define form and space within a cubist style. It also provides practice in mixing a range of greens and blues.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 12 hrs

approach — 8 steps

step 01
Lightly sketch the main shapes and composition, focusing on the geometric forms.
step 02
Block in the large areas of color, starting with the darkest values.
step 03
Gradually build up the layers of color, adding highlights and shadows to define the shapes.
step 04
Pay attention to the edges of the shapes, varying the sharpness and softness to create depth.
step 05
Refine the details, such as the windows, bridge arches, and tree branches.
step 06
Add final touches and highlights to enhance the overall effect.
step 07
Step back and assess the painting, making any necessary adjustments.
step 08
Allow the painting to dry completely.

color palette

primary · viridian green · cerulean blue · raw umber · titanium white

secondary · cadmium yellow · burnt sienna · ivory black

Mix greens by combining blues and yellows, adjusting the ratio for different shades. Use raw umber and white to create muted grays for the sky and buildings. Add a touch of red to the greens for earthier tones.

techniques

·Geometric abstraction
·Color blocking
·Layering
·Broken color
·Scumbling

common pitfalls

→Overblending the colors, losing the distinct geometric shapes.
→Not paying attention to the value relationships, resulting in a flat image.
→Getting bogged down in details too early, before establishing the overall composition.
→Using colors straight from the tube without mixing, leading to a harsh and unnatural look.