apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Connecticut Hillside
Connecticut Hillside by Emil Carlsen

plate no. 3085

Connecticut Hillside

Emil Carlsen, 1920

oilImpressionismlandscapelandscapetreeshillsskycloudsbuilding
some experience helpful

Recreating this painting will help students develop skills in layering colors to create depth and atmosphere, as well as simplifying complex forms into basic shapes and textures. It's a good exercise in understanding atmospheric perspective and color mixing for natural light.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the horizon line and major shapes of the hills and trees.

  2. step 02

    Establish the sky with light blue and white, blending softly to create cloud shapes.

  3. step 03

    Block in the distant hills with muted greens and blues, using a lighter value for the more distant areas.

  4. step 04

    Paint the field with a base of yellow ochre and raw sienna, adding variations in tone and texture.

  5. step 05

    Begin layering the trees, starting with darker greens and gradually adding lighter highlights.

  6. step 06

    Add the small building with a touch of red-brown, keeping it simple and understated.

  7. step 07

    Refine the details of the trees and foliage, using short, broken brushstrokes to create texture.

  8. step 08

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

color palette

primary · titanium white · viridian green · yellow ochre

secondary · ultramarine blue · burnt sienna · raw sienna

Mix greens by combining viridian green with yellow ochre and titanium white. Use ultramarine blue and burnt sienna to create muted grays for the distant hills and shadows.

techniques

  • ·broken color
  • ·layering
  • ·atmospheric perspective
  • ·scumbling
  • ·color mixing

common pitfalls

  • →Overworking the details and losing the overall impressionistic effect.
  • →Using colors that are too saturated and not reflecting the muted tones of the landscape.
  • →Failing to establish a clear sense of depth and distance.
  • →Making the brushstrokes too uniform and lacking in variety.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·viridian green oil paint
  • ·yellow ochre oil paint
  • ·ultramarine blue oil paint
  • ·burnt sienna oil paint
  • ·raw sienna oil paint
  • ·assorted brushes (round and flat)

optional

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

Use a medium-textured canvas to enhance the broken color effect. 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