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home·artworks·Catholic Church in Cimpulung
Catholic Church in Cimpulung by Nicolae Grigorescu

plate no. 7656

Catholic Church in Cimpulung

Nicolae Grigorescu

oilRealismcityscapechurchbuildingsfiguresstreetskytown
some experience helpful

Recreating this painting will help students practice simplifying complex scenes into basic shapes and using a limited palette to create a harmonious color scheme. It also provides practice in capturing atmospheric perspective and suggesting details rather than rendering them precisely.

technical profile

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

study guide

est. 6 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes: the church tower, rooftops, and the basic placement of figures.

  2. step 02

    Establish the overall warm, muted color tone by applying a thin wash of yellow ochre and burnt sienna to the entire canvas.

  3. step 03

    Block in the dark areas of the buildings and figures using a mix of burnt umber and a touch of ultramarine blue.

  4. step 04

    Add the sky with a light wash of yellow ochre and white, blending it softly.

  5. step 05

    Begin refining the shapes of the buildings, adding details like windows and architectural features with a small brush.

  6. step 06

    Suggest the figures in the street with simple strokes of white, ochre, and brown.

  7. step 07

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

  8. step 08

    Soften edges and blend colors to create a hazy, atmospheric effect.

color palette

primary · yellow ochre · burnt sienna · burnt umber · titanium white

secondary · ultramarine blue · raw umber

Mix yellow ochre and white for the sky and lighter building surfaces. Use burnt sienna and burnt umber for the darker tones of the buildings and figures. Add a touch of ultramarine blue to the darks to create depth.

techniques

  • ·alla prima
  • ·scumbling
  • ·atmospheric perspective
  • ·limited palette
  • ·simplification

common pitfalls

  • →Overworking details
  • →Using too many colors
  • →Creating harsh edges
  • →Ignoring the overall warm tone

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·burnt umber oil paint
  • ·titanium white oil paint
  • ·#4 round brush
  • ·#8 flat brush

optional

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

Use a medium-textured canvas to allow for some visible brushstrokes. Consider using a toned canvas to start with a warm undertone.

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oil painting for beginners →how to learn by studying the masters →
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