apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Marina grande in Capri
Marina grande in Capri by Vincenzo Caprile

plate no. 0853

Marina grande in Capri

Vincenzo Caprile, 1909

oil, canvasRealismlandscapemountainsbuildingswaterboatsfiguressky
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and rendering complex shapes with subtle value changes. It also provides practice in depicting figures within a landscape setting.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the mountain, buildings, and shoreline.

  2. step 02

    Establish the sky with a light purple base, blending in pink and white for the clouds.

  3. step 03

    Block in the mountain using muted browns, greens, and purples, paying attention to the light and shadow.

  4. step 04

    Paint the buildings with a warm yellow-ochre base, adding details and shadows with burnt umber and white.

  5. step 05

    Develop the water with layers of blues, greens, and grays, creating highlights and reflections.

  6. step 06

    Add the boats and figures, paying attention to their proportions and placement within the scene.

  7. step 07

    Refine the details, such as the foliage on the mountain and the texture of the buildings.

  8. step 08

    Add final highlights and shadows to create depth and dimension.

color palette

primary · ultramarine blue · burnt umber · yellow ochre · titanium white

secondary · alizarin crimson · sap green

Mix various shades of purple for the sky and mountains by combining ultramarine blue, alizarin crimson, and white. Create realistic greens by mixing yellow ochre and ultramarine blue.

techniques

  • ·atmospheric perspective
  • ·layering
  • ·blending
  • ·rendering form
  • ·broken color

common pitfalls

  • →Failing to establish a strong value structure.
  • →Overworking the details too early in the process.
  • →Using colors that are too saturated.
  • →Ignoring the effects of atmospheric perspective.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints (ultramarine blue, burnt umber, yellow ochre, titanium white, alizarin crimson, sap green)
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

  • ·medium gloss
  • ·easel
  • ·color chart

Use a medium-grit canvas for best results. 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

Portrait of James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy