plate no. 8554

From my room in Madrid - Santa Teresa Street

Carlos Quizpez Asín, 1924

oilExpressionismcityscapebuildingscityscapeskycloudsarchitecturestreet

some experience helpful

Recreating this painting will help students understand perspective in urban landscapes and practice mixing subtle variations of neutral colors to create depth and form. Students will also learn how to depict architectural details with simplified brushstrokes.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 8 hrs

approach — 8 steps

step 01
Lightly sketch the basic shapes and perspective lines of the buildings, paying attention to vanishing points.
step 02
Block in the sky with a thin layer of grey and white, suggesting the cloud formations.
step 03
Establish the base color for the buildings using a mix of white, ochre, and a touch of burnt umber.
step 04
Add shadows to the buildings to create depth and volume, using darker tones of the base color.
step 05
Paint the roof tiles with a mix of red, burnt sienna, and umber, varying the tones for realism.
step 06
Add details such as windows, balconies, and architectural features using a smaller brush.
step 07
Refine the sky and cloud details, adding highlights and shadows to create a sense of depth.
step 08
Add final details like the street lamp and any other small elements to complete the scene.

color palette

primary · titanium white · raw umber · burnt sienna

secondary · yellow ochre · cadmium red light · ivory black

Achieve the building colors by mixing white with small amounts of raw umber and yellow ochre. The roof tiles are a blend of burnt sienna, cadmium red, and a touch of umber. The sky is primarily white and black, with subtle touches of blue or grey.

techniques

·layering
·dry brushing
·color mixing
·perspective drawing
·scumbling

common pitfalls

→Overcomplicating the architectural details.
→Using too much bright color, which will detract from the muted atmosphere.
→Ignoring the perspective lines, which will flatten the image.
→Not varying the tones enough, resulting in a flat and lifeless painting.

materials

surface · stretched canvas

required

·Stretched canvas (12x16 inches)
·Oil paints (titanium white, raw umber, burnt sienna, yellow ochre, cadmium red light, ivory black)
·Palette
·Palette knife
·Assorted brushes (round and flat, sizes #2, #4, #6)
·Odorless mineral spirits
·Linseed oil
·Rags