plate no. 1987

Ruins of Pompeii

Fujishima Takeji, 1908

oilPost-Impressionismcityscaperuinsarchitecturebuildingcolumnscityscapesky

some experience helpful

Recreating this painting will help students develop skills in blocking in shapes, understanding atmospheric perspective, and using visible brushstrokes to create texture and form. It also provides practice in mixing warm and cool tones to depict light and shadow.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 8 hrs

approach — 8 steps

step 01
Sketch the basic shapes of the building, columns, and surrounding structures, paying attention to perspective.
step 02
Block in the sky with a thin layer of blue, leaving some areas lighter to suggest clouds.
step 03
Establish the main light source and block in the general areas of light and shadow on the building and surrounding structures using a limited palette of warm and cool browns and yellows.
step 04
Begin to refine the shapes and details of the columns and architectural elements, using thicker paint and visible brushstrokes.
step 05
Add details to the foreground, suggesting the road and any remaining architectural fragments.
step 06
Introduce subtle color variations to the buildings and sky to create depth and interest.
step 07
Add final highlights and shadows to enhance the sense of form and light.
step 08
Step back and assess the overall composition, making any necessary adjustments to balance the colors and values.

color palette

primary · yellow ochre · ultramarine blue · burnt umber

secondary · titanium white · cadmium yellow · raw sienna

Mix various shades of brown by combining burnt umber with yellow ochre and a touch of blue. Use white to lighten colors and create highlights. Mix blue and white for the sky, adding a touch of yellow for warmer tones.

techniques

·blocking in
·dry brush
·scumbling
·atmospheric perspective
·broken color

common pitfalls

→Getting lost in details too early before establishing the overall composition and values.
→Overmixing colors, resulting in muddy tones.
→Ignoring the importance of atmospheric perspective, making distant objects too sharp and detailed.
→Using too much paint, obscuring the texture of the canvas.

materials

surface · stretched canvas

required

·stretched canvas (12x16 or similar)
·oil paints (yellow ochre, ultramarine blue, burnt umber, titanium white)
·palette
·palette knife
·assorted brushes (round and flat)
·linseed oil
·odorless mineral spirits
·rags

optional

·medium gloss
·easel
·painting knife

A slightly textured canvas will enhance the effect of the visible brushstrokes. Consider using a limited palette to simplify the color mixing process.

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