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home·artworks·On a Balcony in Tarusa
On a Balcony in Tarusa by Victor Borisov-Musatov

plate no. 8905

On a Balcony in Tarusa

Victor Borisov-Musatov, 1905

watercolor, paperArt Nouveau (Modern)sketch and studybalconycolumnstreesfoliagelandscapearchitecture
some experience helpful

Recreating this painting will help students develop skills in watercolor layering and creating atmospheric perspective. It also provides practice in rendering architectural elements within a natural setting.

technical profile

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

study guide

est. 6 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic composition, including the columns, railing, and the distant landscape.

  2. step 02

    Begin with a light wash of diluted yellow ochre and raw sienna across the entire paper to establish the warm undertones.

  3. step 03

    Layer in the sky and distant landscape using diluted blues and greens, focusing on soft edges.

  4. step 04

    Paint the columns with a mix of grey and brown, adding subtle variations in tone to suggest form.

  5. step 05

    Add the foliage using a variety of greens, yellows, and reds, using small brushstrokes to create texture.

  6. step 06

    Define the railing with a darker brown, paying attention to the perspective.

  7. step 07

    Add details like leaves on the floor and vines on the columns.

  8. step 08

    Refine the painting by adding shadows and highlights to create depth.

color palette

primary · yellow ochre · raw sienna · ultramarine blue · burnt umber

secondary · sap green · cadmium red light · payne's gray

Achieve the muted greens by mixing yellow ochre and ultramarine blue. Create the various browns by mixing burnt umber with yellow ochre and a touch of blue. Use lots of water to keep the colors transparent.

techniques

  • ·wet-on-wet blending
  • ·layering
  • ·dry brush texture
  • ·atmospheric perspective

common pitfalls

  • →Overworking the colors and losing the transparency of the watercolor.
  • →Making the colors too saturated.
  • →Not establishing a clear value structure.
  • →Ignoring the perspective of the architectural elements.

materials

surface · watercolor paper 140lb

required

  • ·watercolor paints
  • ·watercolor brushes (round and flat)
  • ·watercolor paper (140lb)
  • ·palette
  • ·water container
  • ·masking tape
  • ·pencil

optional

  • ·kneaded eraser
  • ·ruler
  • ·spray bottle

Use high-quality watercolor paper to prevent buckling. Experiment with different brush sizes to achieve varying levels of detail.

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watercolor techniques →how to learn by studying the masters →
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