apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Going To Market
Going To Market by George Inness

plate no. 6908

Going To Market

George Inness, 1868

oilTonalismlandscapelandscapetreesskycloudsfigurefield
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and color mixing to create depth and mood. It also provides practice in rendering foliage and cloud formations with soft, blended brushstrokes.

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 composition, focusing on the horizon line and placement of major elements like trees and the figure.

  2. step 02

    Establish the sky with broad strokes, blending blues, grays, and whites to create cloud formations.

  3. step 03

    Block in the general shapes of the trees and foliage using dark greens and browns.

  4. step 04

    Add the distant landscape elements, paying attention to atmospheric perspective by using lighter and cooler tones.

  5. step 05

    Define the field and path with varying shades of green and brown, suggesting texture and depth.

  6. step 06

    Paint the stone walls using grays and browns, adding highlights and shadows to create dimension.

  7. step 07

    Add the figure and any other details, such as the chickens, with small, precise brushstrokes.

  8. step 08

    Refine the overall painting, adjusting values and colors as needed to achieve a harmonious and atmospheric effect.

color palette

primary · sap green · raw umber · titanium white · cerulean blue

secondary · burnt sienna · cadmium yellow · alizarin crimson

Achieve the muted greens by mixing sap green with raw umber and titanium white. Create the atmospheric sky by blending cerulean blue, titanium white, and a touch of raw umber.

techniques

  • ·atmospheric perspective
  • ·soft blending
  • ·scumbling
  • ·broken color
  • ·glazing

common pitfalls

  • →Overworking the details and losing the overall atmospheric effect.
  • →Using colors that are too bright or saturated.
  • →Ignoring the importance of value relationships in creating depth.
  • →Making the brushstrokes too uniform and losing the texture of the landscape.

materials

surface · stretched canvas

required

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

optional

  • ·painting medium
  • ·varnish
  • ·easel

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

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Spring, Hudson River

Spring, Hudson River

Leon Dabo

Oraibi, Hopi village, Arizona

Oraibi, Hopi village, Arizona

Xavier Martinez

The Farmyard

The Farmyard

Albert Pinkham Ryder

Woodland Vista

Woodland Vista

Ralph Blakelock

Landscape

Landscape

Leon Dabo

Untitled (Moon Over a Harbor)

Untitled (Moon Over a Harbor)

Edward Mitchell Bannister

Afternoon in Piedmont (Elsie Whitaker Martinez)

Afternoon in Piedmont (Elsie Whitaker Martinez)

Xavier Martinez

Near Conway, North Wales

Near Conway, North Wales

Alexander Helwig Wyant