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home·artworks·Lincoln Cathedral from the Witham
Lincoln Cathedral from the Witham by Edward R. Taylor

plate no. 0837

Lincoln Cathedral from the Witham

Edward R. Taylor

oilRomanticismlandscaperiverskycloudslandscapebuildingboat
some experience helpful

This painting provides a good opportunity to practice atmospheric perspective and creating depth through value changes. Students can also learn to simplify complex shapes into basic forms.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Block in the sky with a light, warm tone, gradually adding darker grays and browns for the clouds.

  3. step 03

    Establish the dark mass of the foreground landscape, using a mix of browns and blacks.

  4. step 04

    Paint the river with a lighter tone, reflecting the sky's colors and adding subtle variations.

  5. step 05

    Add the silhouette of the cathedral, paying attention to its simplified form and value.

  6. step 06

    Define the boat in the foreground with dark, simple shapes.

  7. step 07

    Refine the details of the clouds and reflections in the water.

  8. step 08

    Add final touches to create atmospheric perspective, softening edges and lightening values in the distance.

color palette

primary · raw umber · titanium white · yellow ochre

secondary · ultramarine blue · burnt sienna

Mix raw umber and white for the sky and river. Add yellow ochre for warmth. Use ultramarine blue and burnt sienna to create dark grays and browns for the landscape.

techniques

  • ·atmospheric perspective
  • ·value studies
  • ·dry brushing
  • ·scumbling
  • ·limited palette

common pitfalls

  • →Overworking the details and losing the overall atmospheric effect.
  • →Making the foreground too bright and distracting from the focal point.
  • →Not creating enough contrast between the sky and the landscape.
  • →Using colors that are too saturated and unnatural.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·ultramarine blue oil paint
  • ·burnt sienna oil paint
  • ·#4 round brush
  • ·#8 flat brush

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine

A toned canvas (light brown or gray) can be helpful for establishing the overall value range.

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oil painting for beginners →how to learn by studying the masters →
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