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home·artworks·Nocturne in Grey and Gold: Chelsea Snow
Nocturne in Grey and Gold: Chelsea Snow by James McNeill Whistler

plate no. 9396

Nocturne in Grey and Gold: Chelsea Snow

James McNeill Whistler, 1876

oil, canvasTonalismcityscapecityscapesnownightbuildingsfigurestreetlights
some experience helpful

Recreating this painting will help students understand atmospheric perspective and how to create a sense of depth using subtle value and color shifts. It also provides practice in capturing the mood of a nocturnal scene.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Prepare a canvas with a mid-tone grey or brown ground.

  2. step 02

    Lightly sketch the basic shapes: the road, buildings, and figure.

  3. step 03

    Block in the darkest areas of the buildings and trees using a dark brown or black.

  4. step 04

    Apply the base color of the snow-covered road, a muted blue-grey.

  5. step 05

    Add lighter values to the road to suggest the snow's surface and the reflection of light.

  6. step 06

    Paint the warm glow of the streetlights and windows, blending them softly into the surrounding darkness.

  7. step 07

    Add the figure as a dark silhouette, paying attention to its scale and placement.

  8. step 08

    Refine the details and blend the edges to create a soft, atmospheric effect.

color palette

primary · ivory black · ultramarine blue · raw umber

secondary · yellow ochre · titanium white · burnt umber

Mix ivory black and ultramarine blue for the dark areas. Add raw umber to darken and mute the blues. Use yellow ochre and titanium white to create the warm glow of the lights. Mix small amounts of burnt umber to darken the yellows.

techniques

  • ·glazing
  • ·scumbling
  • ·soft blending
  • ·atmospheric perspective
  • ·limited palette

common pitfalls

  • →Overworking the details and losing the atmospheric effect.
  • →Making the colors too bright or saturated.
  • →Creating harsh lines instead of soft transitions.
  • →Not establishing a strong value structure early on.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·ultramarine blue oil paint
  • ·raw umber oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·round brushes (various sizes)
  • ·linseed oil

optional

  • ·palette knife
  • ·painting medium (e.g., Liquin)

A pre-toned canvas with a mid-tone grey or brown can be helpful. Use a soft brush for blending.

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