plate no. 8866

Novgorod. Peter and Paul Church.

Pyotr Konchalovsky, 1925

oilPost-Impressionismcityscapechurchtreesskyarchitecturelandscapebuilding

some experience helpful

Recreating this painting will help students develop skills in layering paint to create depth and texture, as well as understanding how to represent light and shadow on architectural forms. Students will also learn to simplify complex shapes and forms into basic geometric structures.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 12 hrs

approach — 8 steps

step 01
Sketch the basic shapes of the church and surrounding landscape, focusing on proportions and perspective.
step 02
Block in the main color areas: sky, building, trees, and ground, using thin washes.
step 03
Begin layering paint to build up texture and depth, starting with darker values and gradually adding lighter highlights.
step 04
Define the architectural details of the church, such as windows, arches, and roof lines, using thicker paint and more precise brushstrokes.
step 05
Add details to the trees and foliage, varying the colors and textures to create a sense of depth and realism.
step 06
Refine the highlights and shadows to enhance the three-dimensionality of the scene.
step 07
Add final details, such as small figures or architectural elements, to create visual interest.
step 08
Review and adjust the overall composition, ensuring that the colors and values are balanced and harmonious.

color palette

primary · yellow ochre · viridian green · titanium white

secondary · burnt umber · cadmium yellow · cerulean blue

Mix greens by blending viridian with yellow ochre or cadmium yellow. Achieve the off-white of the building by mixing titanium white with small amounts of yellow ochre and burnt umber.

techniques

·broken color
·scumbling
·layering
·alla prima
·impasto

common pitfalls

→Overworking the painting and losing the freshness of the brushstrokes.
→Failing to establish a strong value structure, resulting in a flat or muddy appearance.
→Getting bogged down in details too early, before establishing the overall composition and color harmony.
→Not varying the brushstrokes and textures enough, resulting in a monotonous or lifeless surface.