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home·artworks·Poor Travellers at the Door of a Capuchin Convent near Vico, Bay of Naples
Poor Travellers at the Door of a Capuchin Convent near Vico, Bay of Naples by William Collins

plate no. 6116

Poor Travellers at the Door of a Capuchin Convent near Vico, Bay of Naples

William Collins

oilRomanticismgenre paintingfiguresbuildinglandscapeskytreeswater
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective, color mixing for natural light, and rendering figures within a landscape setting. It also provides practice in creating depth and texture through layering and brushwork.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the building, figures, and landscape elements.

  2. step 02

    Establish the sky and distant landscape with thin washes of color, paying attention to atmospheric perspective.

  3. step 03

    Block in the main shapes of the building and figures with simplified color values.

  4. step 04

    Develop the textures of the building's stone and roof tiles using varied brushstrokes and layering.

  5. step 05

    Refine the figures, adding details to their clothing and faces, and adjusting their values to create depth.

  6. step 06

    Add details to the landscape, including trees, foliage, and the distant shoreline.

  7. step 07

    Glaze over areas to unify the colors and create a sense of atmosphere.

  8. step 08

    Add final highlights and shadows to enhance the form and create a focal point.

color palette

primary · raw umber · burnt sienna · titanium white

secondary · ultramarine blue · yellow ochre · cadmium red light

Achieve the muted tones by mixing earth tones with white and small amounts of blue or red. Use thin glazes of color to create depth and atmosphere.

techniques

  • ·atmospheric perspective
  • ·glazing
  • ·dry brushing
  • ·scumbling
  • ·layering

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a clear value structure.
  • →Using colors that are too saturated.
  • →Ignoring the effects of atmospheric perspective.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·yellow ochre oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil

optional

  • ·palette knife
  • ·retouch varnish
  • ·medium gloss

Use a medium-tooth canvas for better texture. Consider using a toned canvas to establish a base color.

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