apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Monastery in snow
Monastery in snow by Karl Lessing

plate no. 2956

Monastery in snow

Karl Lessing, 1829

oil, canvasRomanticismlandscapemonasterysnowtreesarchitecturewinterfigures
experienced study

Recreating this painting will help students develop skills in rendering textures of stone and snow, as well as understanding atmospheric perspective and subtle color variations in a limited palette. It also provides practice in depicting architectural details and organic forms in a unified composition.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the monastery building, trees, and major snow formations.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber or a similar neutral tone.

  3. step 03

    Begin blocking in the main colors of the building, using a mix of browns, grays, and creams.

  4. step 04

    Add the snow, paying attention to the highlights and shadows to create a sense of depth and volume.

  5. step 05

    Develop the details of the trees, including the branches and snow-covered needles.

  6. step 06

    Refine the architectural details of the monastery, such as the arches, columns, and statues.

  7. step 07

    Add the figures in the background, keeping them simple and indistinct.

  8. step 08

    Add final highlights and shadows to enhance the overall sense of realism and atmosphere.

color palette

primary · titanium white · burnt umber · raw umber · ivory black

secondary · yellow ochre · ultramarine blue · cadmium red light

Achieve the subtle grays and browns by mixing white with varying amounts of umber, black, and ochre. Add small touches of blue or red to create cooler or warmer tones.

techniques

  • ·glazing
  • ·dry brushing
  • ·scumbling
  • ·atmospheric perspective
  • ·value studies

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated or bright.
  • →Ignoring the subtle color variations in the snow.

materials

surface · stretched canvas

required

  • ·stretched canvas (18x24 inches)
  • ·oil paints (titanium white, burnt umber, raw umber, ivory black, yellow ochre)
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·palette
  • ·palette knife

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use high-quality oil paints for best results. A toned canvas (e.g., with a thin wash of burnt umber) can be helpful.

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