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home·artworks·Lisboa e o Tejo, Domingo
Lisboa e o Tejo, Domingo by Carlos Botelho

plate no. 1172

Lisboa e o Tejo, Domingo

Carlos Botelho, 1935

oilExpressionismcityscapecityscapebuildingswaterskyarchitectureboats
some experience helpful

Recreating this painting will help students develop skills in simplifying complex scenes into basic shapes and color blocks. It also encourages practice in creating depth through atmospheric perspective and color temperature changes.

technical profile

palette complexity
3
brushwork visibility
4
value contrast
3
compositional simplicity
2

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes of the buildings, water, and sky, focusing on proportions and placement.

  2. step 02

    Block in the sky and water with broad strokes, establishing the overall value and color.

  3. step 03

    Establish the main color blocks for the buildings, using a limited palette of earth tones.

  4. step 04

    Begin to refine the shapes of the buildings, adding details like windows and rooftops.

  5. step 05

    Introduce subtle color variations within the buildings to create depth and interest.

  6. step 06

    Add the details of the towers and any other architectural elements.

  7. step 07

    Paint the railing in the foreground, using dark colors to create contrast.

  8. step 08

    Add small details like boats on the water and figures in the windows.

color palette

primary · burnt umber · raw sienna · ultramarine blue

secondary · titanium white · cadmium red light · yellow ochre

Mix various shades of brown and grey by combining burnt umber, raw sienna, ultramarine blue, and white. Use cadmium red light and yellow ochre to add warmth to the buildings. Achieve atmospheric perspective by lightening and cooling the colors of distant objects.

techniques

  • ·blocking in
  • ·color mixing
  • ·atmospheric perspective
  • ·broken color
  • ·scumbling

common pitfalls

  • →Getting bogged down in details too early.
  • →Failing to simplify the complex shapes of the buildings.
  • →Not creating enough contrast between light and shadow.
  • →Overworking the painting and losing the freshness of the brushstrokes.

materials

surface · stretched canvas

required

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

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a medium-textured canvas to allow for visible brushstrokes. Consider using a toned canvas to create a more unified color scheme.

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