apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Colonna Dell’Immacolata from the Via Macherroni, Palermo
Colonna Dell’Immacolata from the Via Macherroni, Palermo by Thomas Stuart Smith

plate no. 4310

Colonna Dell’Immacolata from the Via Macherroni, Palermo

Thomas Stuart Smith, 1855

oilRomanticismcityscapebuildingscityscapecolumnfiguresstreet
some experience helpful

Recreating this painting will help students develop skills in perspective, atmospheric perspective, and capturing detail with loose brushwork. It also provides practice in creating a sense of depth and scale within a complex urban scene.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and perspective lines of the buildings and column.

  2. step 02

    Establish the horizon line and vanishing point(s).

  3. step 03

    Block in the main areas of color, focusing on the overall value structure.

  4. step 04

    Begin to define the shapes of the buildings and the column with darker values.

  5. step 05

    Add details to the buildings, such as windows and balconies, using small brushstrokes.

  6. step 06

    Indicate the figures in the street with simple shapes and gestures.

  7. step 07

    Soften edges and blend colors to create a sense of atmosphere.

  8. step 08

    Add final highlights and details to bring the painting to life.

color palette

primary · raw umber · titanium white · yellow ochre

secondary · burnt sienna · ultramarine blue

Mix various shades of brown and gray by combining raw umber, yellow ochre, and titanium white. Add small amounts of ultramarine blue or burnt sienna to adjust the temperature of the colors.

techniques

  • ·dry brushing
  • ·scumbling
  • ·atmospheric perspective
  • ·linear perspective
  • ·broken color

common pitfalls

  • →Getting the perspective wrong, leading to a distorted composition.
  • →Overworking the details, resulting in a stiff and unnatural look.
  • →Failing to create a sense of depth and atmosphere.
  • →Using colors that are too saturated.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·ultramarine blue oil paint
  • ·round brushes (various sizes)
  • ·linseed oil

optional

  • ·palette knife
  • ·painting medium
  • ·varnish

Use a canvas with a slightly textured surface to enhance the effect of the brushwork. Consider using a limited palette to create a sense of harmony and unity in the painting.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Romantic Landscape

Romantic Landscape

Karl Lessing

Self-portrait with his brother Francesco

Self-portrait with his brother Francesco

Giuseppe Tominz

Oenone Refuse de Secourir Pâris au Siège de Troie

Oenone Refuse de Secourir Pâris au Siège de Troie

Léon Cogniet

Duke of Alba

Duke of Alba

Francisco Goya

Blick Aus Dem Wald Ins Tal

Blick Aus Dem Wald Ins Tal

Andreas Achenbach

Young Girl Fixing Her Hair

Young Girl Fixing Her Hair

Sophie Gengembre Anderson

The Plough Inn

The Plough Inn

William Shayer

Hudson River Landscape

Hudson River Landscape

Johann Hermann Carmiencke