apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The flaying in Livorno
The flaying in Livorno by Giovanni Fattori

plate no. 9319

The flaying in Livorno

Giovanni Fattori, 1867

oil, cardboardImpressionismlandscapebuildingskylandscapefieldarchitecturehouse
some experience helpful

This painting offers a great opportunity to practice simplifying a scene into basic shapes and color blocks. Students can learn to create atmospheric perspective and suggest details with minimal brushstrokes.

technical profile

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

study guide

est. 6 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes of the building and the horizon line.

  2. step 02

    Block in the sky with a thin wash of blue and gray.

  3. step 03

    Apply a base layer of warm brown to the ground area.

  4. step 04

    Mix a lighter, desaturated beige for the building's main color and apply it, leaving some areas darker for shadows.

  5. step 05

    Add darker brown tones to the base of the building and the foreground to create depth.

  6. step 06

    Use short, broken brushstrokes to suggest texture in the ground and on the building's surface.

  7. step 07

    Add subtle highlights to the building and ground to indicate light direction.

  8. step 08

    Refine the details of the building's windows and edges with a small brush.

color palette

primary · raw umber · titanium white · cerulean blue

secondary · yellow ochre · burnt sienna

Mix the sky color by combining cerulean blue, titanium white, and a touch of raw umber. The building color is achieved by mixing titanium white, raw umber, and a small amount of yellow ochre.

techniques

  • ·blocking in
  • ·dry brushing
  • ·atmospheric perspective
  • ·color mixing
  • ·scumbling

common pitfalls

  • →Overworking the details and losing the simplicity of the original.
  • →Making the colors too saturated.
  • →Not establishing a clear light source.
  • →Ignoring the subtle color variations in the ground and sky.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·cerulean blue oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·#4 round brush
  • ·#8 flat brush

optional

  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits

A toned canvas (light brown or gray) can be helpful for achieving the overall muted color scheme.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

View of the Bosphorus and Rumeli Hisarı

View of the Bosphorus and Rumeli Hisarı

Sevket Dag

Paysage du Midi

Paysage du Midi

Armand Guillaumin

Self-Portrait

Self-Portrait

Frederic Bazille

Tip of the Bay

Tip of the Bay

Max Kurzweil

Long Stemmed Lovelies

Long Stemmed Lovelies

Pino Daeni

At Rosetta, Lower Egypt

At Rosetta, Lower Egypt

John Varley II

House from Oltenia

House from Oltenia

Theodor Pallady

Jewish quarter in Amsterdam

Jewish quarter in Amsterdam

Max Liebermann