plate no. 4618
Leaving the Saint-Mélaine Church in Morlaix
Léon Augustin Lhermitte, 1875
some experience helpful
Recreating this painting will help students develop skills in perspective, architectural rendering, and capturing subtle variations in light and shadow on stone surfaces. It also provides practice in depicting figures in a believable environment.
technical profile
palette complexity
3
brushwork visibility
3
value contrast
3
compositional simplicity
3
study guide
est. 15 hrsapproach — 8 steps
- step 01
Lightly sketch the basic shapes and perspective lines of the buildings, focusing on accurate proportions.
- step 02
Establish the horizon line and vanishing points to guide the perspective.
- step 03
Block in the main areas of light and shadow using a limited palette of grays and browns.
- step 04
Begin adding details to the buildings, such as windows, doors, and architectural features.
- step 05
Paint the figures, paying attention to their relative sizes and placement within the scene.
- step 06
Refine the details of the stonework, using subtle variations in color and texture to create a sense of depth.
- step 07
Add highlights and shadows to the figures and buildings to enhance the sense of realism.
- step 08
Make final adjustments to the composition and color balance.
color palette
primary · raw umber · ivory black · titanium white
secondary · yellow ochre · burnt sienna
Achieve the various gray tones by mixing black and white, adjusting the ratio for lighter or darker values. Add small amounts of yellow ochre or burnt sienna to warm the grays and create subtle variations in color.
techniques
- ·linear perspective
- ·grisaille underpainting
- ·dry brushing
- ·scumbling
- ·atmospheric perspective
common pitfalls
- →Inaccurate perspective, leading to distorted buildings.
- →Overworking the details, resulting in a stiff and unnatural appearance.
- →Using too much color, making the painting look unrealistic.
- →Ignoring the subtle variations in light and shadow, creating a flat and lifeless image.
materials
surface · stretched canvas
required
- ·stretched canvas
- ·raw umber oil paint
- ·ivory black oil paint
- ·titanium white oil paint
- ·yellow ochre oil paint
- ·burnt sienna oil paint
- ·#2 round brush
- ·#6 flat brush
optional
- ·palette knife
- ·linseed oil
- ·odorless mineral spirits
Use a medium-grain canvas for best results. Consider toning the canvas with a thin wash of raw umber before starting to paint.
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