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home·artworks·Fredensborg Palace from the Marble Garden
Fredensborg Palace from the Marble Garden by Ludvig Kabell

plate no. 7702

Fredensborg Palace from the Marble Garden

Ludvig Kabell, 1894

oil, cardboardRealismcityscapebuildinggardentreesskyflowersarchitecture
some experience helpful

Recreating this painting will help students develop skills in color mixing to achieve subtle variations in light and shadow, as well as practice creating depth through atmospheric perspective.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes of the building, trees, and garden, paying attention to proportions and perspective.

  2. step 02

    Block in the sky with a light blue, creating a gradient from slightly darker at the top to lighter near the horizon.

  3. step 03

    Establish the main colors of the building, using a warm white and subtle shadows.

  4. step 04

    Paint the large masses of the trees, focusing on the overall shape and value structure.

  5. step 05

    Add details to the garden, including the flowers, paths, and architectural elements.

  6. step 06

    Refine the details of the building, including windows, architectural details, and shadows.

  7. step 07

    Add highlights and details to the trees and foliage to create texture and depth.

  8. step 08

    Make final adjustments to the colors, values, and details to create a cohesive and realistic painting.

color palette

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

secondary · alizarin crimson · viridian green · ultramarine blue

Mix various shades of green by combining yellow ochre, viridian green, and ultramarine blue. Achieve the warm whites of the building by adding small amounts of yellow ochre and burnt umber to titanium white.

techniques

  • ·atmospheric perspective
  • ·color mixing
  • ·layering
  • ·blending
  • ·scumbling

common pitfalls

  • →Overworking the details too early
  • →Using colors straight from the tube without mixing
  • →Ignoring the importance of value contrast
  • →Failing to establish a clear focal point

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·cerulean blue oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

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

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