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home·artworks·The fountain of the Sea Horses in Villa Borghese
The fountain of the Sea Horses in Villa Borghese by Aurelio Tiratelli

plate no. 2621

The fountain of the Sea Horses in Villa Borghese

Aurelio Tiratelli

oil, canvasRomanticismgenre paintingparkfountaintreesfiguresdogssky
some experience helpful

Recreating this painting will help students develop skills in layering colors to create depth and texture, as well as capturing the subtle variations in light and shadow within a complex scene. It also provides practice in rendering figures and animals within a landscape.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the fountain, trees, and figures.

  2. step 02

    Block in the sky with a light blue, adding subtle variations for clouds.

  3. step 03

    Establish the dark masses of the trees and foliage, using a mix of greens and browns.

  4. step 04

    Paint the fountain, paying attention to the highlights and shadows created by the water.

  5. step 05

    Add the figures, starting with the larger shapes and gradually adding details.

  6. step 06

    Paint the foreground, including the dogs and the path, using broken brushstrokes to create texture.

  7. step 07

    Refine the details throughout the painting, adjusting colors and values as needed.

  8. step 08

    Add final highlights and shadows to create depth and dimension.

color palette

primary · cerulean blue · sap green · raw umber · yellow ochre

secondary · alizarin crimson · titanium white · burnt sienna

Achieve the various greens by mixing sap green with yellow ochre and raw umber. Use alizarin crimson and white to create the pinks of the flowering tree. Mix blues and browns for the darker foliage.

techniques

  • ·broken color
  • ·scumbling
  • ·glazing
  • ·atmospheric perspective
  • ·alla prima

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated.
  • →Neglecting the importance of atmospheric perspective.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints: cerulean blue
  • ·oil paints: sap green
  • ·oil paints: raw umber
  • ·oil paints: yellow ochre
  • ·oil paints: alizarin crimson
  • ·oil paints: titanium white
  • ·assorted brushes (round and flat)

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use a medium-tooth canvas for best results. Consider using a limited palette to simplify the color mixing process.

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