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home·artworks·Rain showers in Partenkirchen
Rain showers in Partenkirchen by Heinrich Bürkel

plate no. 6810

Rain showers in Partenkirchen

Heinrich Bürkel, 1838

oil, canvasRomanticismlandscapebuildingslandscaperainanimalstreesfigures
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective, creating a sense of depth through value and color, and rendering realistic textures with visible brushstrokes. Students will also learn how to depict figures and animals in motion.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of buildings, trees, and figures.

  2. step 02

    Establish the overall value structure with a thin wash of neutral tones.

  3. step 03

    Block in the main shapes of the buildings and trees, paying attention to their relative sizes and positions.

  4. step 04

    Begin adding details to the buildings, such as windows, doors, and roof tiles.

  5. step 05

    Develop the foliage of the trees, using a variety of brushstrokes to create texture.

  6. step 06

    Paint the figures and animals, paying attention to their anatomy and movement.

  7. step 07

    Add the rain and reflections, using thin washes of white and gray.

  8. step 08

    Refine the details and adjust the values to create a sense of depth and atmosphere.

color palette

primary · raw umber · titanium white · payne's gray

secondary · yellow ochre · burnt sienna · ultramarine blue

Achieve the muted tones by mixing the primary colors with white and small amounts of secondary colors. Use Payne's Gray to create the atmospheric rain effect.

techniques

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

common pitfalls

  • →Overworking the details and losing the overall sense of atmosphere.
  • →Failing to create a convincing sense of depth.
  • →Making the colors too saturated.
  • →Ignoring the importance of value contrast.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·payne's gray oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·ultramarine blue oil paint
  • ·assorted round and flat brushes

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

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

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