plate no. 1169
The Dublin Streets; a Vendor of Books
Walter Osborne, 1889
some experience helpful
Recreating this painting will help students develop skills in atmospheric perspective and capturing the subtle variations in light and shadow across a complex scene. It also provides practice in rendering figures and details in a loose, impressionistic style.
technical profile
palette complexity
4
brushwork visibility
3
value contrast
3
compositional simplicity
2
study guide
est. 15 hrsapproach — 8 steps
- step 01
Begin with a light sketch to establish the basic composition, focusing on the placement of the bridge, buildings, and figures.
- step 02
Block in the large areas of color, starting with the sky and the water, using thin washes.
- step 03
Establish the values of the buildings and the bridge, paying attention to the light and shadow.
- step 04
Start adding details to the figures, focusing on their shapes and gestures rather than precise details.
- step 05
Develop the book stall area, adding details to the books and the people interacting with them.
- step 06
Refine the details in the foreground, such as the cobblestones and the baskets.
- step 07
Add final touches to the sky and the water, softening edges and adding highlights.
- step 08
Glaze with thin layers to adjust colors and values.
color palette
primary · yellow ochre · raw umber · titanium white
secondary · burnt sienna · ultramarine blue · cadmium red light
Achieve the muted tones by mixing the primary colors with each other and with white. Use small amounts of blue and red to create the subtle variations in the sky and the shadows.
techniques
- ·atmospheric perspective
- ·broken color
- ·scumbling
- ·glazing
- ·alla prima
common pitfalls
- →Getting bogged down in details too early.
- →Overworking the painting and losing the freshness of the impressionistic style.
- →Failing to establish a clear value structure.
- →Using colors that are too saturated.
materials
surface · stretched canvas
required
- ·stretched canvas 18x24
- ·oil paints (yellow ochre, raw umber, titanium white, burnt sienna, ultramarine blue, cadmium red light)
- ·linseed oil
- ·turpentine
- ·palette
- ·assorted brushes (round and flat)
- ·palette knife
- ·rags
optional
- ·medium (e.g., Liquin)
- ·varnish
Use a medium-tooth canvas for a good balance between texture and detail. Consider using a toned canvas to help establish the overall color harmony.
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