apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Lincoln Cathedral, the Cloisters
Lincoln Cathedral, the Cloisters by Edward R. Taylor

plate no. 2576

Lincoln Cathedral, the Cloisters

Edward R. Taylor, 1880

oilRomanticismcityscapecathedralarchitecturecloisterfiguresgrasspigeons
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and rendering architectural details with loose brushwork. It also provides practice in capturing subtle color variations in natural light.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes of the cathedral and cloister, paying attention to perspective.

  2. step 02

    Block in the main color areas: sky, building, grass, and cloister roof.

  3. step 03

    Establish the light source and begin adding shadows and highlights to create depth.

  4. step 04

    Develop the architectural details of the cloister, focusing on the arches and windows.

  5. step 05

    Add the figures and pigeons, keeping them simple and in proportion to the surroundings.

  6. step 06

    Refine the colors and values, paying attention to atmospheric perspective.

  7. step 07

    Add final details and highlights to create a sense of realism.

  8. step 08

    Review and adjust the overall composition and color balance.

color palette

primary · raw umber · yellow ochre · titanium white

secondary · burnt sienna · sap green · ultramarine blue

Use raw umber and yellow ochre mixed with white for the building. Mix sap green and yellow ochre with a touch of blue for the grass. Burnt sienna can be used for the roof and accents.

techniques

  • ·dry brushing
  • ·scumbling
  • ·atmospheric perspective
  • ·broken color
  • ·glazing

common pitfalls

  • →Overworking the details and losing the loose, painterly feel.
  • →Failing to establish a clear light source.
  • →Not paying attention to atmospheric perspective, making the background appear too sharp.
  • →Getting the perspective wrong on the architectural elements.

materials

surface · stretched canvas

required

  • ·stretched canvas 12x16
  • ·raw umber oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·burnt sienna oil paint
  • ·sap green oil paint
  • ·ultramarine blue oil paint
  • ·assorted round and flat brushes

optional

  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits
  • ·medium gloss

Use a medium-textured canvas to allow for better brushwork. 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 →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Romantic Landscape

Romantic Landscape

Karl Lessing

Self-portrait with his brother Francesco

Self-portrait with his brother Francesco

Giuseppe Tominz

Oenone Refuse de Secourir Pâris au Siège de Troie

Oenone Refuse de Secourir Pâris au Siège de Troie

Léon Cogniet

Duke of Alba

Duke of Alba

Francisco Goya

Blick Aus Dem Wald Ins Tal

Blick Aus Dem Wald Ins Tal

Andreas Achenbach

Young Girl Fixing Her Hair

Young Girl Fixing Her Hair

Sophie Gengembre Anderson

The Plough Inn

The Plough Inn

William Shayer

Hudson River Landscape

Hudson River Landscape

Johann Hermann Carmiencke