apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Connecticut landscape
Connecticut landscape by William James Glackens

plate no. 2030

Connecticut landscape

William James Glackens

oilImpressionismlandscapetreeslandscapebuildingshillsfoliagesky
some experience helpful

This painting is great for practicing broken color and impressionistic brushwork to create a sense of light and atmosphere. Students will develop skills in color mixing and layering to achieve the subtle color variations.

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 placement of the trees, buildings, and horizon line.

  2. step 02

    Block in the large areas of color, starting with the sky and distant hills.

  3. step 03

    Establish the base colors for the ground, using a mix of yellows, oranges, and reds.

  4. step 04

    Begin layering in the foliage of the trees, using short, broken brushstrokes of various greens, yellows, and blues.

  5. step 05

    Add details to the buildings, paying attention to the light and shadow.

  6. step 06

    Refine the tree trunks and branches, using darker colors to define their forms.

  7. step 07

    Add highlights to the foliage and ground to create a sense of light and depth.

  8. step 08

    Review and adjust the overall color balance and composition.

color palette

primary · yellow ochre · sap green · ultramarine blue · burnt sienna

secondary · cadmium yellow · alizarin crimson · viridian

Achieve the greens by mixing yellows and blues, and vary the intensity with touches of red. Use white to lighten colors and create highlights. Mix browns and grays by combining complementary colors.

techniques

  • ·broken color
  • ·impressionistic brushwork
  • ·layering
  • ·scumbling
  • ·color mixing

common pitfalls

  • →overmixing colors
  • →creating mud
  • →lack of variation in brushstrokes
  • →ignoring the effects of light and shadow

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·oil paints
  • ·#4 round brush
  • ·#6 filbert brush
  • ·palette
  • ·linseed oil
  • ·turpentine

optional

  • ·palette knife
  • ·easel
  • ·painting medium

Use a medium-tooth canvas for better texture. Consider using a limited palette to simplify color mixing.

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