plate no. 3417
The City (View of the Metropolis)
George Grosz, 1917
experienced study
Recreating this painting will help students develop skills in layering colors to create depth and using expressive brushstrokes to convey movement and chaos. It also introduces the challenge of depicting complex perspective in a dynamic urban scene.
technical profile
palette complexity
3
brushwork visibility
4
value contrast
4
compositional simplicity
2
study guide
est. 15 hrsapproach — 8 steps
- step 01
Sketch the basic shapes and perspective lines of the buildings and street layout.
- step 02
Establish the overall value structure with a thin wash of burnt umber or a similar earth tone.
- step 03
Block in the main areas of color, focusing on the dominant reds and browns.
- step 04
Begin layering colors to create depth and variation, paying attention to the light source (moon).
- step 05
Add details to the buildings, such as windows and architectural features, using small brushstrokes.
- step 06
Paint the figures in the crowd, using simplified shapes and gestures to convey movement.
- step 07
Add highlights and shadows to create contrast and dimension.
- step 08
Refine the details and adjust the colors as needed to achieve the desired effect.
color palette
primary · burnt sienna · cadmium red · ivory black
secondary · ultramarine blue · yellow ochre
Achieve the various shades of red and brown by mixing burnt sienna with cadmium red and small amounts of black or blue. Use yellow ochre to create highlights and warm tones.
techniques
- ·layering
- ·dry brushing
- ·scumbling
- ·broken color
- ·expressive brushwork
common pitfalls
- →Getting bogged down in details too early.
- →Creating a flat, lifeless image by not varying the colors and values.
- →Losing the sense of perspective and depth.
- →Making the crowd appear static instead of dynamic.
materials
surface · stretched canvas
required
- ·stretched canvas (18x24 inches)
- ·oil paints (burnt sienna, cadmium red, ivory black, ultramarine blue, yellow ochre)
- ·linseed oil
- ·turpentine or odorless mineral spirits
- ·assorted brushes (round, flat, filbert)
- ·palette
- ·palette knife
- ·rags
optional
- ·painting medium (e.g., Liquin)
- ·varnish
Use a medium-grit canvas to allow for texture. Consider using a toned canvas to start with a warm underpainting.
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