plate no. 6908

Riders on the Seashore

Tivadar Kosztka Csontvary, 1909

oilPost-Impressionismgenre paintingseahorsesfiguresskymountainlandscape

some experience helpful

Recreating this painting will allow students to practice layering colors to create depth and atmosphere, as well as simplifying complex forms into basic shapes. Students will also learn to create a sense of movement and narrative within a landscape.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 12 hrs

approach — 8 steps

step 01
Sketch the basic composition, focusing on the horizon line and the placement of the main elements (mountain, figures, trees).
step 02
Block in the sky and sea with broad strokes, establishing the overall color and value range.
step 03
Paint the mountain using light and dark values to create form and texture.
step 04
Add the figures and horses, simplifying their shapes and focusing on their silhouettes.
step 05
Paint the foreground, including the beach and any reflections in the water.
step 06
Add details to the figures and horses, such as clothing and facial features.
step 07
Refine the overall composition, adjusting colors and values as needed.
step 08
Add final details, such as highlights and shadows.

color palette

primary · ultramarine blue · raw umber · titanium white

secondary · burnt sienna · yellow ochre · cadmium red

Mix ultramarine blue and raw umber to create the dark blues of the sea and sky. Use burnt sienna and yellow ochre to create the warm tones of the figures and horses. Add titanium white to lighten colors and create highlights.

techniques

·layering
·scumbling
·dry brushing
·simplification
·atmospheric perspective

common pitfalls

→Overworking the details and losing the overall impressionistic feel.
→Failing to establish a clear value range, resulting in a flat and lifeless painting.
→Getting bogged down in the details of the figures and horses, instead of focusing on their overall shape and silhouette.
→Not creating enough contrast between the light and dark areas of the painting.