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home·artworks·Somerset House Terrace and the Thames A View from the North End of Waterloo Bridge with St. Paul's Cathedral in the distance
Somerset House Terrace and the Thames A View from the North End of Waterloo Bridge with St. Paul's Cathedral in the distance by John Constable

plate no. 6061

Somerset House Terrace and the Thames A View from the North End of Waterloo Bridge with St. Paul's Cathedral in the distance

John Constable

oilRomanticismcityscaperiverbuildingsboatsskycityscapewater
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and capturing the essence of a scene with loose, expressive brushstrokes. It provides practice in simplifying complex architectural details and rendering reflections on water.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes: the horizon line, the building on the right, and the general shape of the river.

  2. step 02

    Block in the sky with a light blue-gray wash, allowing for variations in tone to suggest clouds.

  3. step 03

    Establish the basic color of the water, a muted green-gray, and indicate the reflections.

  4. step 04

    Paint the building on the right, focusing on capturing the overall form rather than precise details; use a mix of warm grays and creams.

  5. step 05

    Add the distant cityscape, using soft, blurred strokes to create a sense of depth.

  6. step 06

    Indicate the boats and figures with quick, gestural marks.

  7. step 07

    Refine the details of the building and the reflections in the water, paying attention to the light and shadow.

  8. step 08

    Add final highlights and details to bring the painting to life.

color palette

primary · titanium white · ultramarine blue · yellow ochre · raw umber

secondary · burnt sienna · cadmium yellow light

Mix muted greens for the water by combining blue, yellow ochre, and a touch of raw umber. Achieve the warm grays for the buildings by mixing white, raw umber, and a hint of burnt sienna.

techniques

  • ·broken color
  • ·scumbling
  • ·atmospheric perspective
  • ·alla prima
  • ·wet-on-wet blending

common pitfalls

  • →Getting bogged down in details too early.
  • →Making the colors too saturated.
  • →Losing the sense of atmosphere and depth.
  • →Overworking the painting.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

  • ·painting medium
  • ·varnish
  • ·easel

Use a medium-grain canvas for best results. Consider using a fast-drying medium to speed up the drying time.

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oil painting for beginners →how to learn by studying the masters →
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