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home·artworks·Procession in Naples
Procession in Naples by Franz Richard Unterberger

plate no. 3381

Procession in Naples

Franz Richard Unterberger, 1902

oil, canvasRomanticismcityscapecityscapebuildingsfiguresprocessionstreetsky
experienced study

Recreating this painting will help students develop skills in atmospheric perspective, rendering complex architectural details, and depicting figures in a crowd. It also provides practice in capturing the effects of light and shadow in an urban environment.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the basic composition and perspective of the buildings and figures.

  2. step 02

    Block in the main areas of color, focusing on the overall values and atmospheric perspective.

  3. step 03

    Develop the architectural details of the buildings, paying attention to the play of light and shadow.

  4. step 04

    Start adding the figures, beginning with the larger groups and then moving to the smaller details.

  5. step 05

    Refine the sky and background elements, creating a sense of depth and atmosphere.

  6. step 06

    Add details to the figures, such as clothing, faces, and hands.

  7. step 07

    Work on the cobblestone street, using broken brushstrokes to create texture and depth.

  8. step 08

    Add final highlights and shadows to enhance the overall sense of realism and drama.

color palette

primary · burnt umber · raw sienna · titanium white · ultramarine blue

secondary · cadmium yellow · alizarin crimson · ivory black

Achieve the warm tones of the buildings by mixing burnt umber, raw sienna, and a touch of cadmium yellow. Create the atmospheric sky by blending ultramarine blue, titanium white, and a hint of alizarin crimson.

techniques

  • ·atmospheric perspective
  • ·broken color
  • ·scumbling
  • ·glazing
  • ·dry brushing

common pitfalls

  • →getting lost in the details too early
  • →flattening the perspective
  • →overworking the figures
  • →ignoring the effects of light and shadow

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·#2 round brush
  • ·#6 flat brush
  • ·#10 filbert brush
  • ·linseed oil

optional

  • ·painting medium
  • ·varnish
  • ·easel

Use a medium-grain canvas for best results. Consider using a toned canvas to help establish the overall color harmony.

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