apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Junot Protegendo a Cidade de Lisboa
Junot Protegendo a Cidade de Lisboa by Domingos Sequeira

plate no. 5604

Junot Protegendo a Cidade de Lisboa

Domingos Sequeira, 1808

oilNeoclassicismallegorical paintingfiguresallegorycityscapeskycloudsangel
experienced study

Recreating this painting will help students develop skills in figure drawing, blending techniques for creating atmospheric effects, and understanding how to use light and shadow to create depth and drama.

technical profile

palette complexity
4
brushwork visibility
3
value contrast
4
compositional simplicity
2

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch outlining the main figures and composition.

  2. step 02

    Establish the background sky and cityscape with broad washes of color.

  3. step 03

    Block in the main shapes of the figures, paying attention to proportions and anatomy.

  4. step 04

    Start building up layers of color and value to define the forms and create depth.

  5. step 05

    Focus on the lighting, adding highlights and shadows to create a sense of volume.

  6. step 06

    Refine the details of the figures, including facial features and clothing.

  7. step 07

    Add the final touches, such as the lightning in the sky and the subtle details in the cityscape.

  8. step 08

    Glaze the painting with thin layers of color to unify the composition and create a sense of atmosphere.

color palette

primary · ivory black · titanium white · cadmium red · yellow ochre

secondary · ultramarine blue · burnt umber

Achieve the ethereal tones by mixing white with small amounts of other colors. Use glazes of burnt umber and ultramarine blue to create depth in the shadows.

techniques

  • ·figure drawing
  • ·glazing
  • ·chiaroscuro
  • ·atmospheric perspective
  • ·wet-on-dry blending

common pitfalls

  • →Getting the proportions of the figures wrong.
  • →Overworking the details and losing the overall sense of atmosphere.
  • →Creating harsh lines and edges instead of soft transitions.
  • →Failing to establish a strong sense of light and shadow.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·cadmium red oil paint
  • ·yellow ochre oil paint
  • ·ultramarine blue oil paint
  • ·burnt umber oil paint
  • ·assorted round and flat brushes

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·retouch varnish

Use high-quality oil paints for best results. Consider using a medium to thin the paints and improve flow.

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 Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Marie-Gabrielle Capet

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

Giovanni Battista Piranesi

Portrait of Louis d'Orleans

Portrait of Louis d'Orleans

Franz Xaver Winterhalter

Rooftops in the shadows

Rooftops in the shadows

Pierre-Henri de Valenciennes

The Schmadribach Falls

The Schmadribach Falls

Joseph Anton Koch

A Scene from 'As You Like It' by William Shakespeare

A Scene from 'As You Like It' by William Shakespeare

William Hamilton

Portrait of Klementyna Ostrowska Née Sanguszko

Portrait of Klementyna Ostrowska Née Sanguszko

Vincenzo Camuccini

Self-Portrait

Self-Portrait

Anton Raphael Mengs