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home·artworks·St. Mark's Column in Venice
St. Mark's Column in Venice by Richard Parkes Bonington

plate no. 6757

St. Mark's Column in Venice

Richard Parkes Bonington, 1827

oil, canvasRomanticismcityscapecolumnbuildingsskyfigurescityscapeVenice
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and rendering architectural details with simplified forms. It also provides practice in depicting figures in a crowd and creating a sense of depth.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic composition, focusing on the placement of the column, buildings, and horizon line.

  2. step 02

    Block in the sky with a thin wash of blues and purples, creating subtle variations in tone.

  3. step 03

    Establish the base colors for the buildings and column, paying attention to the light and shadow.

  4. step 04

    Add details to the buildings, simplifying the architectural elements and focusing on the overall shapes.

  5. step 05

    Paint the figures in the foreground with loose brushstrokes, suggesting their forms and clothing.

  6. step 06

    Refine the details of the column, including the capital and the statue on top.

  7. step 07

    Add highlights and shadows to create depth and dimension.

  8. step 08

    Glaze the painting with thin layers of color to unify the composition and enhance the atmosphere.

color palette

primary · ultramarine blue · burnt sienna · titanium white

secondary · yellow ochre · alizarin crimson

Mix blues and whites for the sky, adding a touch of crimson for the sunset hues. Use burnt sienna and white for the column, adjusting the mixture for highlights and shadows. Mix yellow ochre and burnt sienna for the buildings.

techniques

  • ·atmospheric perspective
  • ·glazing
  • ·scumbling
  • ·simplified architectural rendering
  • ·loose figure painting

common pitfalls

  • →Overworking the details and losing the overall impression.
  • →Creating too much contrast and flattening the image.
  • →Ignoring the atmospheric perspective and failing to create depth.
  • →Getting bogged down in the details of the figures.
  • →Using colors that are too saturated.

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·#2 round brush
  • ·#6 flat brush
  • ·ultramarine blue oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·linseed oil
  • ·odorless mineral spirits

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a medium-grain canvas for best results. Thin the oil paints with linseed oil and mineral spirits to create glazes.

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