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home·artworks·Evening at the Lock, Napanoch, New York
Evening at the Lock, Napanoch, New York by Theodore Robinson

plate no. 1753

Evening at the Lock, Napanoch, New York

Theodore Robinson, 1893

oilImpressionismlandscapebuildingwatertreesskylandscapecanal
some experience helpful

Recreating this painting will help students develop skills in color mixing for natural light and rendering reflections in water. It also provides practice in creating depth through atmospheric perspective.

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 building, canal, and trees.

  2. step 02

    Establish the horizon line and the overall perspective of the scene.

  3. step 03

    Block in the main color areas: sky, water, building, trees, and ground.

  4. step 04

    Begin refining the colors in the sky, paying attention to the subtle variations in tone.

  5. step 05

    Work on the reflections in the water, using vertical strokes and broken color.

  6. step 06

    Develop the details of the building, including the windows and architectural features.

  7. step 07

    Add details to the trees and foliage, using a variety of greens and blues.

  8. step 08

    Refine the foreground, adding texture and details to the grass and vegetation.

color palette

primary · burnt sienna · yellow ochre · ultramarine blue · titanium white

secondary · sap green · raw umber · cadmium yellow light

Mix greens by combining blues and yellows, and create muted tones by adding a touch of complementary color. Achieve the sky's subtle hues by mixing white with small amounts of blue, yellow, and red.

techniques

  • ·broken color
  • ·wet-on-wet blending
  • ·scumbling
  • ·atmospheric perspective
  • ·rendering reflections

common pitfalls

  • →Overworking the details and losing the overall impressionistic effect.
  • →Creating reflections that are too perfect and symmetrical.
  • →Using colors that are too saturated and unnatural.
  • →Ignoring the subtle variations in tone and color in the sky and water.

materials

surface · stretched canvas

required

  • ·stretched canvas (12x16 inches)
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

  • ·painting medium (e.g., Liquin)
  • ·easel
  • ·varnish

Use a medium-grain canvas for best results. Consider toning the canvas with a thin wash of burnt umber before starting.

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related guides

oil painting for beginners →color theory for painters →how to learn by studying the masters →
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