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home·artworks·Church of Santa Maria Della Salute, Venice
Church of Santa Maria Della Salute, Venice by William Logsdail

plate no. 7724

Church of Santa Maria Della Salute, Venice

William Logsdail, 1885

oilRealismcityscapecanalbuildingswaterboatsarchitecturetrees
some experience helpful

Recreating this painting will help students develop skills in depicting reflections in water and creating depth through atmospheric perspective. It also provides practice in rendering architectural details with loose brushwork.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the perspective of the canal and buildings.

  2. step 02

    Establish the main value areas: darks for the boats and foreground, mid-tones for the buildings, and light for the sky and reflections.

  3. step 03

    Block in the main colors of the buildings, water, and sky, using thin washes.

  4. step 04

    Add details to the buildings, such as windows and architectural features, with thicker paint and more defined brushstrokes.

  5. step 05

    Develop the reflections in the water, paying attention to the distortion and color variations.

  6. step 06

    Paint the foliage, using a variety of greens and yellows to create texture and depth.

  7. step 07

    Refine the details of the boats and foreground elements.

  8. step 08

    Add final highlights and shadows to enhance the sense of depth and realism.

color palette

primary · raw umber · cerulean blue · cadmium red · yellow ochre

secondary · viridian · titanium white · ivory black

Mix various shades of green by combining cerulean blue, yellow ochre, and a touch of raw umber. Create the building colors by mixing cadmium red, yellow ochre, and raw umber, adjusting the proportions to achieve different hues.

techniques

  • ·broken color
  • ·atmospheric perspective
  • ·scumbling
  • ·wet-on-dry layering
  • ·alla prima

common pitfalls

  • →Overworking the details, resulting in a stiff and unnatural look.
  • →Failing to establish a strong value structure, leading to a flat and unconvincing composition.
  • →Ignoring the color variations in the reflections, making the water appear unrealistic.
  • →Using too much detail in the background, which flattens the sense of depth.

materials

surface · stretched canvas

required

  • ·Stretched canvas 18x24
  • ·Oil paints (raw umber, cerulean blue, cadmium red, yellow ochre, viridian, titanium white, ivory black)
  • ·Palette
  • ·Assorted brushes (round and flat)
  • ·Linseed oil
  • ·Odorless mineral spirits
  • ·Palette knife
  • ·Rags

optional

  • ·Retouch varnish
  • ·Medium (e.g., Liquin)

Use a medium-textured canvas to allow for broken color techniques. Consider using a limited palette to simplify the color mixing process.

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