apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Episode of the conquest of Pavia in 1359
Episode of the conquest of Pavia in 1359 by Federico Faruffini

plate no. 6236

Episode of the conquest of Pavia in 1359

Federico Faruffini, 1860

oil, canvasRomanticismhistory paintingfigurescrowdarchitecturebuildingbannerhistorical event
experienced study

Recreating this painting will help students understand how to create depth and atmosphere using value and how to suggest detail in a crowd scene with loose brushwork. It will also help them learn to simplify complex forms into basic shapes.

technical profile

palette complexity
2
brushwork visibility
4
value contrast
4
compositional simplicity
2

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the overall composition and placement of the main figures and architectural elements.

  2. step 02

    Block in the large shapes of the figures and building with thin washes of neutral tones.

  3. step 03

    Establish the darkest darks and lightest lights to create a strong value structure.

  4. step 04

    Develop the middle ground figures, gradually adding more detail and definition.

  5. step 05

    Focus on the focal point, refining the details and adding highlights.

  6. step 06

    Use broken brushstrokes to suggest the crowd and create a sense of movement.

  7. step 07

    Soften edges and blend tones to create atmospheric perspective.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

primary · ivory black · raw umber · titanium white

secondary · yellow ochre · burnt umber

Vary the tones by mixing black and white with small amounts of umber or ochre to create warm and cool grays.

techniques

  • ·grisaille
  • ·dry brushing
  • ·scumbling
  • ·atmospheric perspective
  • ·value studies

common pitfalls

  • →Getting bogged down in details too early.
  • →Creating a flat, lifeless image by not establishing a strong value structure.
  • →Making all the figures equally detailed, which will flatten the perspective.
  • →Overworking the painting and losing the freshness of the initial sketch.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brush (size 8)
  • ·palette
  • ·linseed oil

optional

  • ·palette knife
  • ·painting medium
  • ·varnish

Use a medium-tooth canvas for better texture.

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