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home·artworks·Memory of Prague
Memory of Prague by Rudolf Láng

plate no. 9747

Memory of Prague

Rudolf Láng, 1957

oilExpressionismcityscapecityscapebuildingsfiguredogstreetsky
some experience helpful

Recreating this painting will help students develop skills in simplifying complex scenes and using expressive brushstrokes to convey mood and atmosphere. It also provides practice in color mixing to achieve a harmonious, albeit stylized, palette.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes of the buildings, street, and figures, focusing on proportions and placement.

  2. step 02

    Establish the horizon line and the general layout of the composition.

  3. step 03

    Block in the main color areas for the sky, buildings, street, and foreground using diluted washes of paint.

  4. step 04

    Begin adding layers of color to the buildings, focusing on capturing the overall tone and form rather than precise details.

  5. step 05

    Define the shapes of the figures and the dog with bold, simplified brushstrokes.

  6. step 06

    Add details to the windows and architectural features, using a smaller brush and varying the pressure to create texture.

  7. step 07

    Refine the colors and values, paying attention to the overall harmony of the painting.

  8. step 08

    Add final touches and highlights to create a sense of depth and dimension.

color palette

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

secondary · cadmium red · raw sienna

Mix various shades of brown and ochre by combining burnt umber, yellow ochre, and white. Achieve the sky color by mixing ultramarine blue with white and a touch of red. The pinkish tones are achieved by mixing red and white.

techniques

  • ·expressive brushstrokes
  • ·color mixing
  • ·layering
  • ·simplification
  • ·wet-on-dry blending

common pitfalls

  • →Getting bogged down in details too early.
  • →Overmixing colors and losing vibrancy.
  • →Failing to simplify the forms and shapes.
  • →Creating muddy colors by over-blending.

materials

surface · stretched canvas

required

  • ·stretched canvas (12x16 or similar)
  • ·oil paints (yellow ochre, burnt umber, ultramarine blue, titanium white, cadmium red, raw sienna)
  • ·palette
  • ·palette knife
  • ·assorted brushes (flat and round)
  • ·linseed oil or solvent
  • ·rags
  • ·container for solvent

optional

  • ·painting medium (e.g., Liquin)
  • ·easel
  • ·apron

Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.

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