plate no. 6883
Lumber yard near Szolnok
August von Pettenkofen, 1889
some experience helpful
Recreating this painting will help students develop skills in layering colors to create depth and texture, as well as simplifying complex scenes into basic shapes and values. It also provides practice in capturing atmospheric perspective and creating a sense of place.
technical profile
palette complexity
3
brushwork visibility
4
value contrast
3
compositional simplicity
3
study guide
est. 8 hrsapproach — 8 steps
- step 01
Sketch the basic composition, focusing on the horizon line and the placement of the building and lumber.
- step 02
Establish the sky with a thin wash of blues and grays, leaving some areas lighter to suggest clouds.
- step 03
Block in the large shapes of the building and trees with darker values of brown and green.
- step 04
Begin layering colors in the foreground to create the texture of the lumber yard, using a variety of browns, ochres, and grays.
- step 05
Add details to the building and trees, paying attention to the direction of light and shadow.
- step 06
Refine the sky, adding subtle variations in color and value.
- step 07
Add final touches to the foreground, such as highlights on the lumber and small details in the dirt.
- step 08
Assess and adjust the overall balance of the painting, making sure the values and colors are harmonious.
color palette
primary · raw umber · titanium white · Prussian blue
secondary · yellow ochre · burnt sienna · sap green
Mix various shades of brown and gray by combining raw umber, white, and a touch of blue. Use yellow ochre and burnt sienna to add warmth to the foreground. Mix sap green with raw umber for muted greens.
techniques
- ·dry brush texture
- ·scumbling
- ·layering
- ·atmospheric perspective
- ·broken color
common pitfalls
- →Overworking the details in the foreground, losing the sense of depth.
- →Making the sky too uniform, lacking variation and interest.
- →Using colors that are too bright or saturated, creating a jarring effect.
- →Ignoring the direction of light and shadow, resulting in a flat and lifeless painting.
materials
surface · stretched canvas
required
- ·stretched canvas
- ·raw umber oil paint
- ·titanium white oil paint
- ·Prussian blue oil paint
- ·yellow ochre oil paint
- ·burnt sienna oil paint
- ·round brushes (various sizes)
- ·linseed oil
optional
- ·palette knife
- ·medium (e.g., Liquin)
- ·easel
Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.
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