plate no. 1618
La via del fuoco
Telemaco Signorini, 1881
some experience helpful
Recreating this painting will help students understand atmospheric perspective and how to create depth using value and color temperature. It also provides practice in depicting figures in a realistic, yet painterly style.
technical profile
palette complexity
3
brushwork visibility
4
value contrast
3
compositional simplicity
3
study guide
est. 15 hrsapproach — 8 steps
- step 01
Lightly sketch the basic composition, focusing on the perspective of the street and buildings.
- step 02
Establish the overall value structure with a thin wash of burnt umber or similar earth tone.
- step 03
Block in the main shapes of the buildings, figures, and bags, using a limited palette of earth tones.
- step 04
Begin to refine the details of the buildings, paying attention to the textures of the stone and brick.
- step 05
Add the figures, focusing on their gestures and clothing.
- step 06
Develop the details of the bags, including the textures and lettering.
- step 07
Adjust the values and colors to create a sense of depth and atmosphere.
- step 08
Add final highlights and details to bring the painting to life.
color palette
primary · burnt umber · raw sienna · titanium white
secondary · yellow ochre · cadmium red light · ivory black
Mix various shades of brown and gray by combining burnt umber, raw sienna, and ivory black with white. Use yellow ochre to add warmth and cadmium red light for subtle highlights.
techniques
- ·underpainting
- ·scumbling
- ·dry brushing
- ·atmospheric perspective
- ·chiaroscuro
common pitfalls
- →Getting the perspective wrong can ruin the sense of depth.
- →Overworking the details can make the painting look stiff and unnatural.
- →Failing to create a strong value structure can result in a flat, uninteresting painting.
- →Ignoring the subtle color variations can make the painting look monotonous.
materials
surface · stretched canvas
required
- ·stretched canvas (12x16 or similar)
- ·oil paints (burnt umber, raw sienna, titanium white, yellow ochre, cadmium red light, ivory black)
- ·linseed oil
- ·turpentine or odorless mineral spirits
- ·palette
- ·assorted brushes (round and flat)
- ·palette knife
optional
- ·medium gloss
- ·painting easel
- ·rags
A toned canvas (e.g., with a thin wash of burnt umber) can be helpful for establishing the initial value structure.
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