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home·artworks·Italian landscape with ruin
Italian landscape with ruin by Jacob van Strij

plate no. 6569

Italian landscape with ruin

Jacob van Strij

oilNeoclassicismlandscapelandscaperuinsfiguresskycloudsdog
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and rendering soft, blended transitions of light and shadow. It also provides practice in depicting figures within a landscape setting.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the ruins, figures, and horizon line.

  2. step 02

    Establish the sky with light blue and white, blending the colors softly.

  3. step 03

    Block in the large shapes of the ruins and the cliff, using a warm brown tone.

  4. step 04

    Add darker values to define the shadows and create depth in the landscape.

  5. step 05

    Paint the figures, paying attention to their proportions and clothing details.

  6. step 06

    Refine the details of the ruins, adding texture and highlights.

  7. step 07

    Add the finishing touches, such as the dog, the ship in the background, and the foliage.

  8. step 08

    Glaze the painting with thin layers of color to unify the composition and enhance the atmosphere.

color palette

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

secondary · cadmium red · raw sienna · ivory black

Mix the sky colors by gradually adding ultramarine blue to titanium white. Use burnt umber and yellow ochre for the earth tones, and add small amounts of cadmium red for warmth. Mix black with other colors to create muted shadows.

techniques

  • ·atmospheric perspective
  • ·blending
  • ·glazing
  • ·scumbling
  • ·chiaroscuro

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated.
  • →Ignoring the principles of atmospheric perspective.

materials

surface · stretched canvas

required

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

optional

  • ·palette knife
  • ·medium (e.g., Liquin)
  • ·easel

Use a medium-grain canvas for best results. Consider using a toned canvas to speed up the painting process.

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