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home·artworks·Florence, a View of the Piazza Della Signoria with the Loggia Dei Lanzi at Left
Florence, a View of the Piazza Della Signoria with the Loggia Dei Lanzi at Left by Ippolito Caffi

plate no. 6299

Florence, a View of the Piazza Della Signoria with the Loggia Dei Lanzi at Left

Ippolito Caffi

canvas, oilRealismcityscapecityscapearchitecturefiguresbuildingsstatuessky
experienced study

Recreating this painting will help students develop skills in atmospheric perspective and rendering complex architectural forms with simplified brushstrokes. It also provides practice in depicting crowds of figures in a believable way.

technical profile

palette complexity
3
brushwork visibility
4
value contrast
3
compositional simplicity
2

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main architectural shapes and the horizon line, paying attention to perspective.

  2. step 02

    Establish the basic color blocks for the sky, buildings, and ground, using thin washes.

  3. step 03

    Develop the architectural details, focusing on the light and shadow patterns on the buildings.

  4. step 04

    Add the figures in the foreground and middle ground, simplifying their forms and using variations in value to suggest depth.

  5. step 05

    Refine the details of the Loggia dei Lanzi, including the statues and arches.

  6. step 06

    Add highlights and shadows to create a sense of depth and atmosphere.

  7. step 07

    Soften edges and blend colors to create a cohesive and harmonious composition.

  8. step 08

    Add final details and adjust values as needed.

color palette

primary · yellow ochre · burnt umber · titanium white

secondary · ultramarine blue · raw sienna · cadmium red light

Mix various shades of brown and ochre by combining burnt umber, yellow ochre, and white. Use ultramarine blue and white for the sky, adding a touch of burnt umber to create grayer tones. Mix raw sienna and cadmium red light for the terracotta rooftops.

techniques

  • ·atmospheric perspective
  • ·scumbling
  • ·dry brushing
  • ·alla prima
  • ·grisaille underpainting

common pitfalls

  • →Getting bogged down in excessive detail too early.
  • →Failing to establish a strong sense of perspective.
  • →Overworking the figures and making them too defined.
  • →Not creating enough atmospheric perspective, resulting in a flat image.

materials

surface · stretched canvas

required

  • ·stretched canvas (18x24 inches)
  • ·oil paints (yellow ochre, burnt umber, titanium white, ultramarine blue, raw sienna, cadmium red light)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

A toned canvas (e.g., with a thin wash of burnt umber) can be helpful for establishing the overall color scheme.

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