apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·In the Crimea. After a Rain
In the Crimea. After a Rain by Fyodor Vasilyev

plate no. 2933

In the Crimea. After a Rain

Fyodor Vasilyev, 1873

oil, canvasRealismlandscapemountainsfigureslandscapeskypathclouds
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 figures within a landscape setting.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the mountain's shape and the path's perspective.

  2. step 02

    Establish the sky with a light, cloudy wash, blending blues, grays, and whites.

  3. step 03

    Block in the mountain using darker blues and purples, gradually lightening towards the snow-covered peaks.

  4. step 04

    Paint the foreground landscape with a mix of greens, browns, and yellows, varying the tones to create depth.

  5. step 05

    Add the path, using lighter grays and browns, and suggest texture with broken brushstrokes.

  6. step 06

    Paint the figures, paying attention to their relative size and placement within the scene.

  7. step 07

    Add details to the landscape, such as small bushes and rocks, using dry brush techniques.

  8. step 08

    Refine the overall painting, adjusting values and colors to enhance the atmospheric effect.

color palette

primary · Prussian Blue · Titanium White · Yellow Ochre

secondary · Burnt Umber · Cadmium Yellow · Alizarin Crimson

Mix blues and whites for the sky and mountains, adding small amounts of umber or crimson to create grays and purples. Use yellow ochre and burnt umber for the foreground, adding greens for vegetation.

techniques

  • ·atmospheric perspective
  • ·dry brush
  • ·scumbling
  • ·color mixing
  • ·value studies

common pitfalls

  • →Overworking the details in the foreground, losing the sense of depth.
  • →Failing to create a convincing atmospheric perspective, making the mountains appear flat.
  • →Using colors that are too saturated, resulting in an unrealistic landscape.
  • →Ignoring the subtle value changes in the sky and mountains.

materials

surface · stretched canvas

required

  • ·Stretched canvas 18x24
  • ·Oil paints (Prussian Blue, Titanium White, Yellow Ochre, Burnt Umber)
  • ·Round brushes (#2, #4, #6)
  • ·Flat brushes (#6, #8)
  • ·Palette knife
  • ·Odorless mineral spirits
  • ·Linseed oil
  • ·Palette

optional

  • ·Medium gloss
  • ·Retouch varnish
  • ·Easel

Use a medium-tooth canvas to allow for texture. 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

Portrait of James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy