apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·St Peters and the Vatican from the Janiculum, Rome
St Peters and the Vatican from the Janiculum, Rome by Richard Wilson

plate no. 2497

St Peters and the Vatican from the Janiculum, Rome

Richard Wilson, 1757

oilRococolandscapelandscapearchitecturetreesfigurescityscapesky
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and layering techniques to create depth. It also provides practice in rendering complex foliage and architectural details.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the horizon line, the main architectural elements, and the foreground trees.

  2. step 02

    Establish the sky with a light blue base, adding subtle variations in tone to suggest clouds.

  3. step 03

    Block in the distant landscape with muted greens and blues, paying attention to the atmospheric perspective.

  4. step 04

    Begin layering the trees and foliage in the foreground, starting with darker tones and gradually adding highlights.

  5. step 05

    Paint the architectural details of St. Peter's and the Vatican, focusing on accurate proportions and subtle shading.

  6. step 06

    Add the figures in the foreground, using small brushstrokes to create detail.

  7. step 07

    Refine the overall composition by adjusting values and adding final highlights.

  8. step 08

    Glaze the painting with thin layers of color to unify the tones and create a sense of depth.

color palette

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

secondary · sap green · cadmium yellow · raw sienna

Mix greens by combining yellow ochre and ultramarine blue. Achieve atmospheric perspective by adding white to colors for distant elements.

techniques

  • ·atmospheric perspective
  • ·layering
  • ·glazing
  • ·dry brushing
  • ·scumbling

common pitfalls

  • →Overworking the details in the distant landscape, losing the sense of atmospheric perspective.
  • →Using too much green in the foliage, resulting in a flat and unnatural appearance.
  • →Neglecting the subtle variations in tone in the sky, creating a monotonous effect.
  • →Failing to establish a strong value contrast, resulting in a muddy and indistinct composition.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·ultramarine blue oil paint
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·titanium white oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)
  • ·linseed oil

optional

  • ·palette knife
  • ·turpentine
  • ·damar varnish

Use high-quality oil paints for best results. Allow each layer to dry before applying the next.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Louis XV, King of France

Louis XV, King of France

Charles-Andre van Loo (Carle van Loo)

William James

William James

Joshua Reynolds

Wooded Landscape with Gypsies, Evening

Wooded Landscape with Gypsies, Evening

George Lambert

Head of a Scholar

Head of a Scholar

Giovanni Domenico Tiepolo

Gentleman and Wife

Gentleman and Wife

William Williams

Portrait of Antoine Watteau

Portrait of Antoine Watteau

Rosalba Carriera

Portrait of Henriette of France, daughter of Louis XV

Portrait of Henriette of France, daughter of Louis XV

Jean-Étienne Liotard

Mr. John Williams

Mr. John Williams

Benjamin West