apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Pompei
Pompei by Fujishima Takeji

plate no. 2918

Pompei

Fujishima Takeji

oilImpressionismcityscapecityscapebuildingshillsskywater
some experience helpful

Recreating this painting will help students develop skills in layering colors and using directional brushstrokes to create form and texture. It also provides practice in simplifying complex scenes into basic shapes and values.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes of the landscape and buildings, paying attention to the horizon line.

  2. step 02

    Block in the sky with a thin wash of yellow and blue, blending the colors softly.

  3. step 03

    Establish the dark values of the hills and foreground with a mix of brown and green.

  4. step 04

    Add the basic shapes of the buildings using a mix of ochre, brown, and white.

  5. step 05

    Develop the details of the buildings with thicker paint and directional brushstrokes.

  6. step 06

    Add highlights to the buildings and landscape using lighter shades of ochre and yellow.

  7. step 07

    Refine the details and add any final touches, such as small figures or boats.

  8. step 08

    Allow the painting to dry completely and then varnish for protection.

color palette

primary · yellow ochre · ultramarine blue · burnt umber

secondary · titanium white · cadmium yellow · alizarin crimson

Mix yellow ochre and ultramarine blue for the greens of the hills. Use burnt umber and ultramarine blue for dark shadows. Add titanium white to lighten colors and create highlights.

techniques

  • ·dry brush texture
  • ·layering
  • ·directional brushstrokes
  • ·color mixing
  • ·atmospheric perspective

common pitfalls

  • →Overworking the details and losing the loose, impressionistic feel.
  • →Using too much paint and creating a muddy effect.
  • →Ignoring the value structure and creating a flat, uninteresting painting.
  • →Not establishing a clear focal point.

materials

surface · stretched canvas

required

  • ·stretched canvas 12x16
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

  • ·medium gloss
  • ·easel

Use a medium-grit canvas for better texture. Consider using a limited palette to simplify the color mixing process.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →color theory for painters →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

View of the Bosphorus and Rumeli Hisarı

View of the Bosphorus and Rumeli Hisarı

Sevket Dag

Paysage du Midi

Paysage du Midi

Armand Guillaumin

Self-Portrait

Self-Portrait

Frederic Bazille

Tip of the Bay

Tip of the Bay

Max Kurzweil

Long Stemmed Lovelies

Long Stemmed Lovelies

Pino Daeni

At Rosetta, Lower Egypt

At Rosetta, Lower Egypt

John Varley II

House from Oltenia

House from Oltenia

Theodor Pallady

Jewish quarter in Amsterdam

Jewish quarter in Amsterdam

Max Liebermann