plate no. 6527
Embankments of the Seine in Paris
Albert Marquet, 1907
some experience helpful
This painting provides a good exercise in simplifying complex scenes into basic shapes and using broken color to create texture and depth. Students can learn to capture the essence of a landscape with minimal detail.
technical profile
palette complexity
3
brushwork visibility
4
value contrast
3
compositional simplicity
4
study guide
est. 6 hrsapproach — 8 steps
- step 01
Sketch the basic composition: horizon line, river bank, and building outlines.
- step 02
Block in the sky with a thin layer of light blue.
- step 03
Establish the green of the river using a base color.
- step 04
Add variations of green to the river with short, broken brushstrokes.
- step 05
Paint the riverbank with white and light brown, using horizontal strokes.
- step 06
Block in the trees with masses of yellow, green, and brown.
- step 07
Add details to the buildings with muted colors, focusing on simple shapes.
- step 08
Refine the details and add highlights to create depth.
color palette
primary · viridian green · yellow ochre · titanium white
secondary · burnt umber · cerulean blue
Mix various shades of green by combining viridian green, yellow ochre, and white. Use burnt umber to darken the greens and create shadows. Muted blues can be achieved by mixing cerulean blue with a touch of burnt umber.
techniques
- ·broken color
- ·alla prima
- ·scumbling
- ·layering
common pitfalls
- →Overworking the details and losing the impressionistic feel.
- →Using too much detail in the background.
- →Creating muddy colors by overmixing.
- →Not varying the brushstrokes enough to create texture.
materials
surface · stretched canvas
required
- ·stretched canvas
- ·acrylic or oil paints
- ·round brushes
- ·flat brushes
- ·palette
- ·palette knife
- ·linseed oil (if using oils)
- ·mineral spirits (if using oils)
optional
- ·painting medium
- ·easel
- ·rags
Use a medium-textured canvas to enhance the brushwork. Consider using a limited palette to simplify color mixing.
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