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home·artworks·Moret sur Loing the Porte de Bourgogne
Moret sur Loing the Porte de Bourgogne by Alfred Sisley

plate no. 7596

Moret sur Loing the Porte de Bourgogne

Alfred Sisley, 1891

oil, canvasImpressionismcityscapebuildingswaterskycloudstreescityscape
some experience helpful

Recreating this painting will help students develop skills in capturing light and reflections, as well as using broken color to create texture and depth. It also provides practice in depicting architectural forms in a loose, impressionistic style.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes: buildings, water line, and cloud formations.

  2. step 02

    Establish the basic color blocks for the sky, water, and buildings using thin washes.

  3. step 03

    Begin layering colors in the sky, focusing on capturing the light and shadow on the clouds.

  4. step 04

    Develop the buildings, paying attention to the subtle color variations and reflected light.

  5. step 05

    Work on the water, using horizontal brushstrokes to create the illusion of movement and reflections.

  6. step 06

    Add details to the foreground vegetation and reflections.

  7. step 07

    Refine the overall composition, adjusting colors and values as needed.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

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

secondary · cadmium yellow · alizarin crimson · viridian

Mix various shades of blue and white for the sky. Use burnt sienna and yellow ochre with touches of blue and white to create the warm tones of the buildings and water. Add alizarin crimson to create the pinkish hues.

techniques

  • ·broken color
  • ·wet-on-wet blending
  • ·scumbling
  • ·color mixing
  • ·layering

common pitfalls

  • →Overworking the details and losing the impressionistic feel.
  • →Using colors straight from the tube without mixing.
  • →Neglecting the importance of reflected light.
  • →Making the reflections too symmetrical.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

  • ·painting medium
  • ·easel
  • ·varnish

Use a medium-textured canvas to allow for better paint adhesion and texture.

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related guides

oil painting for beginners →color theory for painters →how to learn by studying the masters →
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