apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Landscape at Autumn
Landscape at Autumn by Laszlo Mednyanszky

plate no. 6453

Landscape at Autumn

Laszlo Mednyanszky, 1890

oilImpressionismlandscapetreeslandscapeautumnfigurefoliagesky
some experience helpful

Recreating this painting will help students develop skills in layering colors to create depth and atmosphere, and in using broken brushstrokes to suggest texture and detail. It also encourages observation of subtle color variations in nature.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Establish the overall warm tone of the painting with a thin wash of burnt umber or raw sienna.

  3. step 03

    Block in the sky and distant mountains with diluted blues and grays.

  4. step 04

    Begin layering in the foliage, using short, broken brushstrokes to create texture.

  5. step 05

    Paint the tree trunks and branches, paying attention to their structure and form.

  6. step 06

    Add details to the foreground, such as grasses and foliage, using darker values.

  7. step 07

    Introduce highlights to suggest sunlight filtering through the trees.

  8. step 08

    Refine the details and adjust the values to create a sense of depth and atmosphere.

color palette

primary · burnt umber · raw sienna · titanium white

secondary · ultramarine blue · yellow ochre · ivory black

Achieve the muted tones by mixing the primary colors with white and small amounts of blue or black to create grays and browns. Use yellow ochre to warm the browns and create highlights.

techniques

  • ·broken brushstrokes
  • ·layering
  • ·dry brushing
  • ·scumbling
  • ·atmospheric perspective

common pitfalls

  • →Overworking the details and losing the overall impressionistic effect.
  • →Using colors that are too saturated and not muted enough.
  • →Failing to create a sense of depth and atmosphere.
  • →Ignoring the subtle color variations in the foliage and trees.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·round brushes (various sizes)
  • ·palette
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a canvas with a slightly textured surface to enhance the effect of the broken brushstrokes. Consider using a limited palette to simplify the color mixing process.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →color theory for painters →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

View of the Bosphorus and Rumeli Hisarı

View of the Bosphorus and Rumeli Hisarı

Sevket Dag

Paysage du Midi

Paysage du Midi

Armand Guillaumin

Self-Portrait

Self-Portrait

Frederic Bazille

Tip of the Bay

Tip of the Bay

Max Kurzweil

Long Stemmed Lovelies

Long Stemmed Lovelies

Pino Daeni

At Rosetta, Lower Egypt

At Rosetta, Lower Egypt

John Varley II

House from Oltenia

House from Oltenia

Theodor Pallady

Jewish quarter in Amsterdam

Jewish quarter in Amsterdam

Max Liebermann