apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Mediterranean Bay Seen through an Arch
Mediterranean Bay Seen through an Arch by Penry Williams

plate no. 0924

Mediterranean Bay Seen through an Arch

Penry Williams, 1839

oil, canvasRomanticismcityscapearchitecturecityscapeseaskyfiguresvegetation
some experience helpful

Recreating this painting will help students develop skills in perspective, color mixing for atmospheric effects, and rendering architectural details with light and shadow. The painting also offers a chance to practice painting figures within a landscape.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the archway and the perspective lines of the buildings.

  2. step 02

    Block in the main areas of color: sky, sea, buildings, and foreground.

  3. step 03

    Establish the light and shadow patterns on the buildings, paying attention to the warm and cool tones.

  4. step 04

    Develop the details of the architecture, including windows, balconies, and decorative elements.

  5. step 05

    Add the figures and animals, focusing on their placement and proportion within the scene.

  6. step 06

    Paint the vegetation, using a variety of greens and browns to create texture and depth.

  7. step 07

    Refine the details of the sky and sea, adding clouds and highlights to create atmospheric perspective.

  8. step 08

    Add final details and highlights to bring the painting to life.

color palette

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

secondary · cadmium red · viridian green · raw sienna

Mix various shades of ochre and umber with white for the buildings. Use ultramarine and white with a touch of yellow ochre for the sky and sea. Mix greens from blue and yellow for the foliage.

techniques

  • ·glazing
  • ·scumbling
  • ·dry brushing
  • ·atmospheric perspective
  • ·linear perspective

common pitfalls

  • →Incorrect perspective leading to distorted buildings.
  • →Overly saturated colors that flatten the image.
  • →Lack of variation in the textures of the buildings and vegetation.
  • →Failing to create a sense of depth through atmospheric perspective.

materials

surface · stretched canvas

required

  • ·Stretched canvas (18x24 inches)
  • ·Oil paints (yellow ochre, ultramarine blue, burnt umber, titanium white, cadmium red, viridian green, raw sienna)
  • ·Palette
  • ·Assorted brushes (round and flat)
  • ·Linseed oil
  • ·Turpentine or mineral spirits
  • ·Palette knife
  • ·Rags

optional

  • ·Medium gloss
  • ·Retouch varnish
  • ·Easel

Use high-quality oil paints for best results. A medium-grit canvas will provide a good surface for layering paint.

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