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home·artworks·Riva degli Schiavoni, Venice
Riva degli Schiavoni, Venice by Franz Richard Unterberger

plate no. 6459

Riva degli Schiavoni, Venice

Franz Richard Unterberger

oil, canvasRomanticismcityscapecityscapewaterboatsfiguresarchitecturesky
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and capturing the mood of a scene through subtle color variations and loose brushwork. It also provides practice in depicting figures and architectural details in a stylized manner.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Block in the sky and water with broad washes of color, focusing on the overall tonal values.

  3. step 03

    Establish the main architectural forms, paying attention to their relative sizes and positions.

  4. step 04

    Add details to the buildings, boats, and figures, using smaller brushes and more precise strokes.

  5. step 05

    Develop the foreground with details of the pavement and figures, adding shadows and highlights.

  6. step 06

    Refine the colors and values throughout the painting, adjusting the atmospheric perspective as needed.

  7. step 07

    Add final details such as rigging on the boats and small figures in the distance.

  8. step 08

    Glaze with thin layers to unify the colors and create depth.

color palette

primary · yellow ochre · raw umber · titanium white · alizarin crimson

secondary · ultramarine blue · burnt sienna

Achieve the atmospheric haze by mixing white with small amounts of yellow ochre, raw umber, and alizarin crimson. Use ultramarine blue to create cooler tones in the water and sky.

techniques

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

common pitfalls

  • →Overworking details too early
  • →Creating harsh lines instead of soft transitions
  • →Ignoring the overall tonal values
  • →Using colors that are too saturated

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·#2 round brush
  • ·#6 flat brush
  • ·#10 filbert brush
  • ·yellow ochre oil paint
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·alizarin crimson oil paint

optional

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

Use a medium-tooth canvas to allow for both smooth blending and textured brushwork.

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