apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Arrival of the Russian Embassy in Amsterdam, 29 August 1697
The Arrival of the Russian Embassy in Amsterdam, 29 August 1697 by Abraham Storck

plate no. 8617

The Arrival of the Russian Embassy in Amsterdam, 29 August 1697

Abraham Storck, 1697

oilBaroquemarinaboatsbuildingswaterfiguresskyclouds
experienced study

Recreating this painting will help students develop skills in atmospheric perspective and rendering complex architectural details with simplified forms. It also provides practice in painting reflections and capturing the movement of water.

technical profile

palette complexity
4
brushwork visibility
3
value contrast
3
compositional simplicity
2

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Establish the sky and water with broad washes of color, paying attention to the overall tone and atmospheric perspective.

  3. step 03

    Block in the major shapes of the buildings and boats, using simplified forms and colors.

  4. step 04

    Add details to the buildings, such as windows, roofs, and architectural ornaments.

  5. step 05

    Refine the shapes and colors of the boats, adding figures and details as needed.

  6. step 06

    Paint the reflections in the water, using slightly darker and more muted versions of the colors above.

  7. step 07

    Add highlights and shadows to create depth and dimension.

  8. step 08

    Refine the details and make any necessary adjustments to the composition.

color palette

primary · burnt umber · raw sienna · titanium white · Prussian blue

secondary · yellow ochre · cadmium red light · ivory black

Mix various shades of brown and gray by combining burnt umber, raw sienna, and ivory black with titanium white. Use Prussian blue and white for the sky, and add touches of yellow ochre for warmth.

techniques

  • ·atmospheric perspective
  • ·glazing
  • ·scumbling
  • ·broken color
  • ·rendering reflections

common pitfalls

  • →Getting bogged down in excessive detail too early.
  • →Failing to establish a strong sense of atmospheric perspective.
  • →Making the reflections too bright or saturated.
  • →Ignoring the subtle color variations in the water and sky.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·Prussian blue oil paint
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round and flat)

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a medium-grain canvas for best results. Consider toning the canvas with a thin wash of burnt umber before starting to paint.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

Girl with a Straw Hat

Girl with a Straw Hat

Judith Leyster

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Abraham Storck

Bathsheba Bathing

Bathsheba Bathing

Francesco Solimena

Repentant Peter

Repentant Peter

Guido Reni

Itinerant Musicians

Itinerant Musicians

Jacob Ochtervelt

Marie Christine

Marie Christine

Marcello Bacciarelli

Santa Cecilia E Due Angeli

Santa Cecilia E Due Angeli

Giulio Cesare Procaccini

Scene from the Life of Saint Benedict

Scene from the Life of Saint Benedict

Philippe de Champaigne