apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Chelsea Embankment
Chelsea Embankment by Laura Knight

plate no. 8768

Chelsea Embankment

Laura Knight, 1935

oilImpressionismcityscapecityscapebridgeriverbuildingstreesfigures
experienced study

Recreating this painting will help students develop skills in atmospheric perspective and rendering complex scenes with many small details. It also provides practice in color mixing to achieve subtle variations in tone and value.

technical profile

palette complexity
4
brushwork visibility
3
value contrast
3
compositional simplicity
2

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the bridge, river, and main buildings.

  2. step 02

    Establish the horizon line and the overall perspective of the scene.

  3. step 03

    Block in the large shapes of the buildings, river, and sky with thin washes of color.

  4. step 04

    Begin to add details to the buildings and bridge, using a smaller brush.

  5. step 05

    Paint the river, focusing on capturing the reflections and movement of the water.

  6. step 06

    Add the trees and figures, paying attention to their relative sizes and placement.

  7. step 07

    Refine the details and add highlights and shadows to create depth and dimension.

  8. step 08

    Add final touches and adjust colors as needed to achieve the desired effect.

color palette

primary · ultramarine blue · raw umber · titanium white

secondary · cadmium red · yellow ochre · ivory black

Mix blues and umbers with white to create the hazy atmosphere. Use small amounts of red and yellow to add warmth to the buildings and vehicles. Achieve the water's color by mixing blues, greens, and grays.

techniques

  • ·atmospheric perspective
  • ·layering
  • ·dry brushing
  • ·scumbling
  • ·glazing

common pitfalls

  • →Getting lost in the details too early.
  • →Failing to establish a strong sense of perspective.
  • →Using colors that are too saturated.
  • →Ignoring the subtle variations in tone and value.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes (round, flat, filbert)
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

  • ·medium gloss
  • ·easel
  • ·photo reference

Use a medium-grain canvas for best results. 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