plate no. 5353

Landscape, Shinnecock Hills

William Merritt Chase, 1900

oil, canvasImpressionismlandscapelandscapehillstreesgrassskypath

some experience helpful

Recreating this painting will help students develop skills in layering colors to create depth and texture, as well as using directional brushstrokes to suggest form and movement in a landscape. It also provides practice in capturing atmospheric perspective.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 8 hrs

approach — 8 steps

step 01
Lightly sketch the basic composition, indicating the horizon line, the main shapes of the hills, and the position of the tree.
step 02
Establish the sky with a thin wash of light gray, blending it smoothly.
step 03
Block in the large areas of color for the hills, using a mix of greens, yellows, and browns. Pay attention to the overall value structure.
step 04
Begin adding details to the tree, using a variety of greens and browns to create texture and depth. Use short, broken brushstrokes.
step 05
Work on the foreground, adding details to the grass and path. Use directional brushstrokes to suggest the form of the land.
step 06
Add small touches of color to the grass and foliage, such as purples and reds, to create visual interest.
step 07
Refine the details and adjust the values as needed to create a sense of depth and atmosphere.
step 08
Add final highlights to the foliage and grass to bring the painting to life.

color palette

primary · yellow ochre · sap green · raw umber · titanium white

secondary · ultramarine blue · alizarin crimson · burnt sienna

Mix greens by combining yellow ochre and ultramarine blue. Achieve earth tones by mixing raw umber, burnt sienna, and white. Use alizarin crimson to create subtle reds and purples for the foliage.

techniques

·broken color
·scumbling
·atmospheric perspective
·directional brushstrokes
·layering

common pitfalls

→Overmixing colors, resulting in muddy tones.
→Neglecting the value structure, leading to a flat painting.
→Getting bogged down in details too early.
→Ignoring the direction of light and shadow.

materials

surface · stretched canvas

required

·Stretched canvas (12x16 inches)
·Oil paints (yellow ochre, sap green, raw umber, titanium white, ultramarine blue, alizarin crimson, burnt sienna)
·Assorted brushes (round and flat)
·Palette
·Palette knife
·Odorless mineral spirits
·Linseed oil
·Rags