plate no. 0486

Ketshin, Poland

Petros Malayan, 1991

oilExpressionismcityscapebuildingstowerscityscapearchitectureroofssky

what to study here

It shows how to build a cohesive, somber expressionist cityscape from a narrow value range, warped perspective and gestural roof marks.

The useful lesson here is deliberate distortion held together by restraint. The towers have peaked roofs, the rooflines tilt and converge, and the foreground ground plane is pushed steeply upward, so the space feels compressed. Despite that, the value range is narrow. The walls sit in a tight band of warm taupes and creams, and the darkest darks are reserved for roof tile patterns and recesses under overhangs. Squint and the greenish-gray sky reads nearly as dark as the building shadows, which pushes the cream towers forward. Look at the roof tiles: they are quick linear strokes that follow each plane's perspective, not individual tiles. Walls get broad directional strokes with visible paint texture. Edges change on purpose, soft where rooflines meet sky and crisp where shadow meets light. Light comes from the upper left, and the eye enters at the tallest central tower, then zigzags across roof and facade planes. Study how little contrast is needed to make the forms read.

key decision

Malayan kept walls, sky and shadows in a close, muted value range, with the darkest darks saved for roof tiles and recesses. The warped perspective stays readable because of this restraint.

recreation guide

This recreation guide addresses Petros Malayan’s 1991 oil painting 'Ketshin, Poland,' a work classified within the Expressionist style and the cityscape genre. While specific visual details of this particular canvas are not described in the provided sources, the artwork belongs to the tradition of depicting urban landscapes, which often serve as topographical views or artistic interpretations of city environments (Source 4). The artist’s practice, inferred from the medium and style, likely involves the expressive manipulation of color and form rather than strict photorealism, consistent with Expressionist conventions. The technical approach recommended for this recreation draws heavily from traditional oil painting methods involving monochrome underpainting and subsequent glazing. This method, historically practiced by old masters and cited by Sir Joshua Reynolds, involves establishing a tonal foundation before applying transparent color layers (Source 1). This technique allows for the modulation of light and color intensity, addressing the 'law of simultaneous contrast' where juxtaposed colors influence one another’s perception (Source 6). The composition should adhere to general principles of visual ordering, ensuring a clear center of interest and avoiding exact bisections of space to maintain dynamic balance (Source 8).

estimated time

20-30 hours over 5-7 sessions (allowing for drying times between glaze layers)

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, Black, White, Yellow Ochre, Red Ochre, Cadmium Red/Yellow)	Primary pigments for underpainting and glazing	—
Oil of Copavia (or modern stand oil/linseed oil)	Medium for the first and second paintings as per Reynolds' method	Stand oil or refined linseed oil
Varnish	Mixed with oil for later glazing stages to increase transparency and flow	Dammar varnish or synthetic resin varnish
Canvas or prepared panel	Support for the oil painting	—
Soft charcoal or graphite	Underdrawing	—

preparation

surface prep

Prepare a standard oil ground. While the sources do not specify Malayan’s exact ground, traditional oil painting practice often utilizes a white or neutral ground to facilitate the grisaille underpainting method described in Source 1. Ensure the surface is smooth enough for fine glazing but textured enough to hold the expressive brushwork typical of Expressionism.

underdrawing

Create a loose underdrawing to establish the cityscape’s structural elements. Since Expressionism prioritizes emotional impact over precise topographical accuracy, the drawing should focus on the major masses and lines rather than intricate details. Avoid rigid outlines that might constrain the subsequent expressive application of paint (Source 5).

underpainting

Execute a grisaille (monochrome) underpainting using black, ultramarine, and white mixed with oil of copavia (Source 1). This stage establishes the value structure of the cityscape. Mentally extract the red and yellow colors, translating what would remain in nature if these hues were absent (Source 1). This creates a tonal foundation that will interact with the subsequent color glazes.

color palette

Ultramarine/Black/White

Ultramarine blue, Ivory black, Titanium white

Grisaille underpainting to establish values and forms (Source 1)

Yellow Tones

Yellow Ochre, Cadmium Yellow

Glazing and scumbling to introduce warmth and light, particularly in sky or illuminated building facades (Source 1)

Red Tones

Red Ochre, Cadmium Red, Alizarin Crimson

Glazing and scumbling to add depth and warmth, contrasting with the cooler grisaille base (Source 1)

Grey Bloom

Scumbled semi-opaque grey over darker ground

Creating atmospheric effects and coldness in shadows or distant structures (Source 1)

composition

As a cityscape, the composition should likely feature a horizon line that does not bisect the canvas equally, instead emphasizing either the sky or the ground to create visual interest (Source 8). Ensure there is a clear center of interest to prevent the image from becoming a mere pattern (Source 8). Use detailed areas contrasted with 'rest' areas to guide the viewer’s eye through the urban environment (Source 8). Avoid placing the prominent subject exactly in the center unless a formal symmetry is intended (Source 8).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the basic forms of the cityscape, focusing on major architectural masses and the horizon line.
Tip — Avoid over-defining outlines; keep the drawing flexible for expressive painting.
Loose underdrawing

underpainting

step 02
Apply a grisaille layer using black, ultramarine, and white mixed with oil of copavia. Establish the full range of values from dark shadows to bright highlights.
Tip — Mentally exclude red and yellow hues to focus purely on tonal structure (Source 1).
Grisaille

first pass

step 03
Allow the grisaille to dry completely. Begin glazing with transparent coats of yellow and red tones using oil as a medium.
Tip — Apply thin, transparent layers to allow the underlying monochrome to show through, similar to tinting an engraving (Source 1).
Glazing

refining

step 04
Introduce scumbling techniques, applying semi-opaque paint over darker areas to create coldness or grey blooms.
Tip — Use this to adjust atmospheric perspective and cool down specific areas of the cityscape (Source 1).
Scumbling

finishing

step 05
As mastery increases, mix varnish with oil for subsequent glazes to enhance transparency and depth.
Tip — Ensure each layer is dry before applying the next to prevent muddiness.
Varnish glazing
step 06
Review the composition for contrast and balance. Ensure small, high-contrast elements provide sufficient impact against larger, duller areas.
Tip — Check that the viewer’s eye is led around the elements before exiting the picture (Source 8).
Compositional balance

critical techniques

Glazing

Applying transparent coats of color over a dry monochrome underpainting to build up luminosity and depth. This method was established by Sir Joshua Reynolds and used by old masters (Source 1).

Scumbling

Applying semi-opaque paint over a darker ground to create coldness or grey blooms, allowing the underlying painting to show through (Source 1).

Simultaneous Contrast

Understanding that juxtaposed colors influence each other; placing flat tints of different tones next to each other produces chiaroscuro effects and gradations of light (Source 6).

common pitfalls

→Applying glazes before the underpainting is completely dry, which can lead to muddying of the tones (Source 1).
→Over-modeling or becoming too tied down to the initial outline, which restricts the expressive potential of the paint (Source 5).
→Bisecting the picture space exactly, which can result in a static and uninteresting composition (Source 8).
→Ignoring the law of simultaneous contrast, leading to colors that appear dull or unbalanced due to poor juxtaposition (Source 6).

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·Specific visual details of 'Ketshin, Poland' (e.g., specific buildings, weather conditions, time of day) are not described in the sources, so the recreation must rely on general cityscape conventions.
·Petros Malayan’s specific personal habits or deviations from traditional oil painting techniques are not detailed in the provided biographical or technical sources.
·The exact palette used by Malayan for this specific work is unknown; the suggested palette is based on general Expressionist and traditional oil painting practices.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting, glazing, and scumbling techniques
- ON COPYING — applied to Advice on avoiding over-modeling and rigid outlines
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color contrast and chiaroscuro effects

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia: Landscape painting↗
- Landscape painting — part 13 — applied to Genre classification as cityscape
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 6 — applied to Compositional balance and eye movement

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

This is an expressionist fortification cityscape where multiple towers with distinctive conical/peaked roofs dominate the composition. The space is compressed through warped perspective—rooflines tilt and converge unnaturally, with the foreground ground plane tilted steeply upward. Light comes from the upper left, creating sharp shadows on the right-facing and underside surfaces of the buildings. The eye enters at the central tallest tower, then travels across the zigzag of rooflines and facade planes. A substantial greenish-gray sky occupies the upper third, framing the architecture.

value structure

The painting operates in a narrower, more muted value range than it initially appears. Darkest darks live in the roof tile patterns (very deep brown-black), beneath overhangs, and in architectural recesses. The main building walls occupy a tight mid-to-light band of warm taupes and creams. Squint: the sky reads almost as dark as the building shadows, creating a subtle frame that pushes the cream-colored towers forward. This restraint gives the piece its cohesive, somewhat somber atmosphere despite the warm palette.

observed palette and mixes

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Yellow ochre + white, or raw sienna + cream
Brightest illuminated building faces, particularly the tall central tower and right-side wall planes
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Yellow ochre + raw umber + white
Mid-tone warm walls and upper building surfaces catching moderate light
#6b6451
Raw umber + yellow ochre
Shaded building faces and transition tones between light and dark areas
#7d7156
Soft greenish-brown: raw umber + ultramarine + yellow ochre
Sky and cooler background areas; brings atmospheric depth
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Ultramarine + raw umber + touch of ochre
Upper sky region and darkest mid-tones in building recesses
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Burnt umber + ultramarine + ivory black (or similar deep cool brown)
Darkest shadows beneath roofs, deep architectural recesses, roof tile patterns

edges and brushwork

Edges vary deliberately from soft and blended (especially along rooflines merging with sky) to crisp where shadows meet light. The roof tiles are rendered with quick, linear strokes that follow perspective rather than depicting individual tiles—this gestural approach is essential to the expressionist character. Building walls show broad, directional brush movement with visible paint texture; this is never smoothed. The overall handling is confident and loose, prioritizing the emotional quality of the architecture over exact representation.

a working sequence

01
Establish the composition skeleton
Lightly map the major tower positions and roofline slopes. Pay close attention to the exaggerated perspective—notice how the foreground tilts upward and to the right unnaturally. Mark where the central tall tower sits and how the flanking structures angle. This distortion is not a mistake; it's essential to the expressionist energy. Use a warm earth tone slightly diluted to block these lines without committing.
02
Block in the sky
Cover the upper half and background with your greenish-gray sky tone (mix raw umber + ultramarine + ochre). Apply it broadly with horizontal strokes. This doesn't need to be uniform—slight variations in tone create atmosphere. Work around but not into the tower silhouettes yet; you'll refine those edges later. Let the sky breathe; it's a substantial presence in the composition.
03
Establish the main building masses
Block in the cream and warm tan building walls using your lightest tones. Focus on the three main tower structures and the buildings between them. Don't worry about individual windows or fine details—just establish the big warm planes. Notice which faces catch the most light (the left-facing and upper planes) and which recede into shadow (right sides and undersides). Let the color sit simply at first.
04
Introduce shadow structure and depth
Add your cooler, darker mid-tones to the shaded building faces and around architectural forms. Pay particular attention to the recessed areas between towers and beneath the conical roofs. The shadows aren't uniform—they shift from cooler browns to warmer browns depending on their position. This step gives the towers their three-dimensional form and prevents them from reading as flat cutouts.
05
Render the foreground and ground plane
Work the lower portion of the composition where the tilted ground plane becomes more visible. Use your darker browns and add texture with gestural strokes that follow the upward tilt. This area is less detailed than the buildings but more active than empty—it grounds the composition and emphasizes the distorted perspective. Leave some warmer tones here too; it's not all dark.
06
Develop the roof tiles and architectural texture
Now add the characteristic diagonal and cross-hatched roof tile pattern using quick, linear strokes in your darkest tones. These are not individual tiles but a gestural suggestion of texture. Follow the perspective—the lines should angle according to how each roof plane sits. Use a smaller brush and work with confidence; hesitant marks read as weakness. The patterns create visual rhythm across the composition.
07
Add architectural details and refine edges
Add darker doorways, window recesses, and small structural details on the building faces. These are minimal—just dark marks suggesting openings and structural breaks. Refine some edges where shadow meets light, keeping some edges soft (especially where towers meet sky) and others crisp (where shadow creates clear definition). Work selectively; this painting is not about detail density.
08
Final value and color integration
Step back and assess the overall value structure. The buildings should read clearly against both the sky and foreground, but the palette should feel unified and muted. If areas feel isolated or too bright, they need cooling or darkening to sit into the composition. Check that the expressionistic distortion feels intentional rather than clumsy. Some areas may need a glaze or additional texture to harmonize everything.

where studies of this painting go wrong

Over-correcting the perspective: Students often instinctively straighten the tilted rooflines and upward-tilting ground plane to 'realistic' perspective, erasing the expressionist distortion that makes this painting vital. Embrace the warping.
Making roof tiles too uniform or detailed: The tile pattern must stay gestural and textural—quick directional strokes following perspective. If tiles become individual and rendered, the painting loses its energy and looks overly fussy.
Flattening the value relationships: Though the palette is muted, the difference between illuminated and shadowed surfaces is what gives the towers dimension. If shadows aren't dark enough or lights aren't clearly distinguished, everything collapses into a muddy mass.
Overworking the brushwork into smoothness: This painting's character lives in visible, confident marks. Blending too much or over-brushing kills the expressionist quality and makes it look timid.
Neglecting the sky as an active shape: The sky is not background decoration—it's roughly half the composition and sets the entire mood. A sky that's too bright or too uniform will throw off all the value relationships below.

measured difficulty