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home·artworks·Fonthill Redivivus, Wiltshire
Fonthill Redivivus, Wiltshire by George Lambert

plate no. 5525

Fonthill Redivivus, Wiltshire

George Lambert, 1740

oilRococolandscapelandscapetreesskybuildingfiguresfoliage
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and layering techniques to create depth. They will also learn how to simplify complex architectural details and foliage.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the horizon line and the placement of the main elements (trees, building, hills).

  2. step 02

    Establish the sky with a light blue base, blending in white for the clouds.

  3. step 03

    Block in the distant hills and fields with muted greens and browns, using lighter values for areas further away.

  4. step 04

    Paint the building with simplified shapes and details, paying attention to the light and shadow.

  5. step 05

    Add the trees and foliage in the foreground, using darker values and more detail.

  6. step 06

    Introduce the figures and other small details to add interest.

  7. step 07

    Refine the colors and values, adjusting the atmospheric perspective as needed.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · cerulean blue · yellow ochre · burnt umber · titanium white

secondary · sap green · raw sienna

Mix greens by combining yellow ochre and cerulean blue. Use white to lighten colors and create atmospheric perspective. Mix burnt umber and cerulean blue for dark shadows.

techniques

  • ·atmospheric perspective
  • ·layering
  • ·blending
  • ·scumbling
  • ·glazing

common pitfalls

  • →Overworking the details in the background, losing the sense of distance.
  • →Using colors that are too saturated, making the painting look unnatural.
  • →Not paying attention to the light and shadow, resulting in a flat image.
  • →Making the foreground too busy, distracting from the focal point.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·cerulean blue oil paint
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·titanium white oil paint
  • ·round brushes (various sizes)
  • ·palette
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.

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