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home·artworks·In Spiš near the castle
In Spiš near the castle by Martin Benka

plate no. 4968

In Spiš near the castle

Martin Benka, 1922

oilExpressionismlandscapehaystackslandscapetreesmountainsfiguressky
some experience helpful

Recreating this painting will help students develop skills in layering colors to create depth and texture, as well as simplifying complex scenes into basic shapes and values. It's a good exercise in capturing the overall mood of a landscape.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes of the haystacks, trees, and mountains, focusing on their relative sizes and positions.

  2. step 02

    Establish the horizon line and the general layout of the landscape.

  3. step 03

    Apply a thin wash of diluted burnt umber or raw sienna to tone the canvas.

  4. step 04

    Block in the main color areas: sky, mountains, fields, and haystacks, using broad strokes.

  5. step 05

    Begin layering colors on the haystacks to create form and texture, using variations of browns, yellows, and oranges.

  6. step 06

    Add details to the trees and background, focusing on simplifying the shapes and values.

  7. step 07

    Refine the foreground with subtle color variations and textures to create depth.

  8. step 08

    Add final highlights and shadows to enhance the overall composition.

color palette

primary · burnt umber · raw sienna · titanium white

secondary · ultramarine blue · yellow ochre · sap green

Achieve the muted tones by mixing earth tones with white and small amounts of blue or green. Use yellow ochre and burnt umber for the haystacks, and ultramarine blue and white for the mountains.

techniques

  • ·dry brushing
  • ·layering
  • ·scumbling
  • ·color mixing
  • ·atmospheric perspective

common pitfalls

  • →Overworking the details and losing the overall impressionistic feel.
  • →Using colors straight from the tube without mixing and muting them.
  • →Creating too much contrast too early in the painting process.
  • →Neglecting the importance of atmospheric perspective in the background.

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·round brushes (#4, #6, #8)
  • ·linseed oil
  • ·palette

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a medium-textured canvas to help create the desired texture. 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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