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home·artworks·Entering The Mosque
Entering The Mosque by Edwin Lord Weeks

plate no. 6467

Entering The Mosque

Edwin Lord Weeks, 1885

oil, canvasOrientalismgenre paintingarchitecturefigureshorsesbuildingornamentationdoorway
experienced study

Recreating this painting will help students develop skills in rendering complex architectural details and figures in a dynamic composition, as well as understanding light and shadow to create depth and form.

technical profile

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

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch outlining the main architectural shapes and figure placement.

  2. step 02

    Establish the overall color scheme by blocking in large areas of color for the building, ground, and figures.

  3. step 03

    Develop the architectural details, focusing on the intricate patterns and ornamentation around the doorway and windows.

  4. step 04

    Refine the figures, paying attention to their poses, clothing, and facial features.

  5. step 05

    Add details to the horses and their tack, capturing their form and texture.

  6. step 06

    Work on the light and shadow, creating depth and dimension in the scene.

  7. step 07

    Add final details and highlights to enhance the overall realism and visual interest.

  8. step 08

    Glaze the painting to unify the colors and add depth.

color palette

primary · yellow ochre · burnt sienna · raw umber

secondary · cadmium red · viridian green · ultramarine blue

Achieve the warm, earthy tones of the building by mixing yellow ochre, burnt sienna, and raw umber. Use glazes of red and blue to create the subtle variations in the shadows and highlights.

techniques

  • ·glazing
  • ·scumbling
  • ·dry brushing
  • ·chiaroscuro
  • ·rendering textures

common pitfalls

  • →Getting lost in the details too early before establishing the overall composition and color scheme.
  • →Overworking the architectural details, resulting in a flat and lifeless appearance.
  • →Failing to capture the subtle variations in light and shadow, making the scene look two-dimensional.
  • →Inaccurate proportions of figures and horses.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints (yellow ochre, burnt sienna, raw umber, cadmium red, viridian green, ultramarine blue, titanium white)
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round, flat, filbert)
  • ·palette knife
  • ·palette
  • ·rags

optional

  • ·retouch varnish
  • ·painting medium

Use high-quality oil paints for best results. Consider using a toned canvas to create a warmer base for the painting.

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