apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Headquarters of the Piedmontese in the Crimea
The Headquarters of the Piedmontese in the Crimea by Gerolamo Induno

plate no. 5304

The Headquarters of the Piedmontese in the Crimea

Gerolamo Induno, 1855

oil, canvasRomanticismcityscapebuildingssnowfigureslandscapemilitaryflag
some experience helpful

This painting helps develop skills in atmospheric perspective and rendering textures of snow and aged buildings. Students can practice creating depth through value and color variations.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Establish the sky and distant hill with thin washes of color.

  3. step 03

    Block in the larger shapes of the buildings and the road, using a limited palette of browns and whites.

  4. step 04

    Add details to the buildings, such as windows, doors, and roof lines.

  5. step 05

    Paint the figures, starting with the larger groups and then adding details to the individual figures.

  6. step 06

    Create the snow texture using dry brush techniques and varying shades of white and gray.

  7. step 07

    Add the flag and other details, such as the road and the bridge.

  8. step 08

    Refine the values and colors to create depth and atmosphere.

color palette

primary · titanium white · raw umber · burnt sienna

secondary · payne's gray · cadmium red · sap green

Mix various shades of white with raw umber and burnt sienna to create the tones for the buildings and snow. Use Payne's gray to darken shadows and create atmospheric perspective.

techniques

  • ·dry brush
  • ·atmospheric perspective
  • ·scumbling
  • ·layering
  • ·limited palette

common pitfalls

  • →Overworking the details in the background, which can flatten the image.
  • →Using too much pure white, which can make the snow look unnatural.
  • →Failing to create a sense of depth through value and color variations.
  • →Getting the perspective wrong on the buildings.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·payne's gray oil paint
  • ·#4 round brush
  • ·#8 flat brush
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a medium-grain canvas for best results. Consider using a toned canvas to speed up the painting process.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

Romantic Landscape

Romantic Landscape

Karl Lessing

Self-portrait with his brother Francesco

Self-portrait with his brother Francesco

Giuseppe Tominz

Oenone Refuse de Secourir Pâris au Siège de Troie

Oenone Refuse de Secourir Pâris au Siège de Troie

Léon Cogniet

Duke of Alba

Duke of Alba

Francisco Goya

Blick Aus Dem Wald Ins Tal

Blick Aus Dem Wald Ins Tal

Andreas Achenbach

Young Girl Fixing Her Hair

Young Girl Fixing Her Hair

Sophie Gengembre Anderson

The Plough Inn

The Plough Inn

William Shayer

Hudson River Landscape

Hudson River Landscape

Johann Hermann Carmiencke