apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Syria by the Sea
Syria by the Sea by Frederic Edwin Church

plate no. 6020

Syria by the Sea

Frederic Edwin Church

oilRomanticismlandscaperuinslandscapeskycloudsarchitecturesea
experienced study

Recreating this painting will help students develop skills in atmospheric perspective and glazing techniques to create depth and luminosity. It also provides practice in rendering complex textures of stone and foliage.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the ruins and the horizon line.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber and raw sienna.

  3. step 03

    Block in the sky with light blues and grays, blending softly to create a sense of atmosphere.

  4. step 04

    Begin layering in the distant landscape, using lighter values and desaturated colors to create depth.

  5. step 05

    Develop the ruins in the foreground, paying attention to the details of the stonework and the play of light and shadow.

  6. step 06

    Glaze thin layers of color over the ruins to build up depth and richness.

  7. step 07

    Add highlights and details to the foliage and other elements in the foreground.

  8. step 08

    Refine the overall composition and adjust values as needed to create a sense of harmony.

color palette

primary · raw sienna · burnt umber · titanium white

secondary · ultramarine blue · yellow ochre · cadmium yellow

Achieve the warm, glowing light by mixing yellow ochre and cadmium yellow with white. Use ultramarine blue and burnt umber to create various shades of gray for the sky and shadows.

techniques

  • ·glazing
  • ·atmospheric perspective
  • ·dry brushing
  • ·scumbling
  • ·soft blending

common pitfalls

  • →Overworking the details in the distant landscape, which can flatten the image.
  • →Failing to create a strong sense of atmosphere, which can make the painting look flat and lifeless.
  • →Using colors that are too saturated, which can detract from the overall mood of the painting.
  • →Neglecting the importance of value contrast, which can make the painting look muddy and indistinct.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·raw sienna oil paint
  • ·burnt umber oil paint
  • ·ultramarine blue oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·round brushes (various sizes)
  • ·linseed oil

optional

  • ·palette knife
  • ·retouch varnish
  • ·medium (e.g. Liquin)

Use high-quality oil paints for best results. Consider using a toned canvas to make it easier to establish the overall value structure.

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