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home·artworks·Moroccan street scene (study for The Moroccan storyteller)
Moroccan street scene (study for The Moroccan storyteller) by Alfred Dehodencq

plate no. 5011

Moroccan street scene (study for The Moroccan storyteller)

Alfred Dehodencq, 1858

oil, canvasOrientalismgenre paintingstreet scenefiguresarchitecturetowermarketcamels
experienced study

Recreating this painting will help students develop skills in depicting complex scenes with many figures and understanding atmospheric perspective. It also offers practice in capturing the nuances of light and shadow in a warm color palette.

technical profile

palette complexity
4
brushwork visibility
4
value contrast
3
compositional simplicity
2

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main architectural elements and the overall composition, focusing on perspective.

  2. step 02

    Establish the horizon line and the placement of the tower.

  3. step 03

    Block in the large shapes of the buildings and the general mass of the crowd.

  4. step 04

    Begin to define the figures, focusing on their gestures and interactions rather than precise details.

  5. step 05

    Apply a base layer of color to the sky, buildings, and ground, establishing the overall warm tone.

  6. step 06

    Gradually build up layers of color and value to create depth and dimension.

  7. step 07

    Add details to the architectural elements and the figures, using smaller brushes.

  8. step 08

    Refine the highlights and shadows to create a sense of light and atmosphere.

color palette

primary · yellow ochre · burnt umber · titanium white

secondary · cadmium red · ultramarine blue · raw sienna

Achieve the warm, earthy tones by mixing yellow ochre, burnt umber, and white. Use small amounts of cadmium red and ultramarine blue to create variations in the shadows and highlights.

techniques

  • ·scumbling
  • ·dry brushing
  • ·atmospheric perspective
  • ·alla prima
  • ·layering

common pitfalls

  • →Getting bogged down in details too early.
  • →Failing to establish a strong sense of perspective.
  • →Overworking the painting and losing the freshness of the brushstrokes.
  • →Not creating enough variation in the skin tones.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints (yellow ochre, burnt umber, titanium white, cadmium red, ultramarine blue, raw sienna)
  • ·linseed oil
  • ·turpentine
  • ·palette
  • ·assorted brushes (round and flat)
  • ·palette knife
  • ·rags

optional

  • ·retouch varnish
  • ·painting medium

Use a medium-grit canvas to allow for texture. Consider using a toned canvas to establish a warm base.

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