apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Study for View of the Valley of the White Mountains, New Hampashire
Study for View of the Valley of the White Mountains, New Hampashire by William Hart

plate no. 9256

Study for View of the Valley of the White Mountains, New Hampashire

William Hart, 1857

oilRomanticismlandscapelakemountainstreeslandscapebuildingssky
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and capturing reflections in water. It also provides practice in layering colors to create depth and texture in foliage.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic composition, focusing on the horizon line and major landforms.

  2. step 02

    Establish the sky with a thin wash of yellow ochre and white, blending smoothly.

  3. step 03

    Block in the distant mountains with muted blues and purples, using lighter values for further mountains.

  4. step 04

    Paint the darker trees and foliage in the midground, layering greens, browns, and blacks.

  5. step 05

    Add the water, reflecting the colors of the sky and trees above, using horizontal strokes.

  6. step 06

    Define the foreground rocks and shoreline with darker values and textured brushstrokes.

  7. step 07

    Paint the buildings and figures with small brushes, paying attention to their placement and scale.

  8. step 08

    Add final details, such as highlights on the water and foliage, and refine the overall composition.

color palette

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

secondary · sap green · cadmium yellow · alizarin crimson

Achieve muted greens by mixing yellow ochre with ultramarine blue and a touch of burnt umber. Create atmospheric perspective by adding white to the blues and purples for distant mountains.

techniques

  • ·wet-on-wet blending
  • ·dry brush texture
  • ·atmospheric perspective
  • ·layering
  • ·scumbling

common pitfalls

  • →Overworking the painting and losing the loose, painterly feel.
  • →Making the colors too saturated and not capturing the muted tones of the landscape.
  • →Neglecting the reflections in the water and making them too literal.
  • →Failing to establish a clear sense of depth and perspective.

materials

surface · stretched canvas

required

  • ·Stretched canvas 12x16
  • ·Oil paints (yellow ochre, burnt umber, ultramarine blue, titanium white, sap green)
  • ·Round brushes (#2, #4, #6)
  • ·Flat brush (#8)
  • ·Palette
  • ·Palette knife
  • ·Odorless mineral spirits
  • ·Linseed oil

optional

  • ·medium gloss
  • ·easel
  • ·rags

Use a medium-tooth canvas for better texture. Consider using a limited palette to simplify the color mixing process.

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

Romantic Landscape

Romantic Landscape

Karl Lessing

Self-portrait with his brother Francesco

Self-portrait with his brother Francesco

Giuseppe Tominz

Oenone Refuse de Secourir Pâris au Siège de Troie

Oenone Refuse de Secourir Pâris au Siège de Troie

Léon Cogniet

Duke of Alba

Duke of Alba

Francisco Goya

Blick Aus Dem Wald Ins Tal

Blick Aus Dem Wald Ins Tal

Andreas Achenbach

Young Girl Fixing Her Hair

Young Girl Fixing Her Hair

Sophie Gengembre Anderson

The Plough Inn

The Plough Inn

William Shayer

Hudson River Landscape

Hudson River Landscape

Johann Hermann Carmiencke