plate no. 0105

THE HOUSES OF PARLIAMENT AND MARGIT BRIDGE, BUDAPEST

Marianne Stokes, 1909

oilPost-Impressionismcityscapecityscapebridgewaterarchitecturelightssky

some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and capturing the mood of a cityscape at night. It also provides practice in rendering reflections and subtle color variations in water.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 10 hrs

approach — 8 steps

step 01
Sketch the basic composition, focusing on the placement of the bridge and the main architectural elements.
step 02
Establish the overall warm, muted color palette with a thin wash of burnt umber and yellow ochre.
step 03
Block in the dark shapes of the buildings and bridge, using a mix of burnt umber and ultramarine blue.
step 04
Add the lighter areas of the sky and water, blending colors to create a soft, hazy effect.
step 05
Paint the reflections in the water, using vertical strokes and slightly lighter values.
step 06
Add the details of the lights on the bridge and in the water, using small dabs of yellow and orange.
step 07
Refine the shapes of the buildings and bridge, adding subtle details and variations in color.
step 08
Add final touches to the sky and water, blending colors and adjusting values to create a cohesive and atmospheric effect.

color palette

primary · burnt umber · yellow ochre · ultramarine blue

secondary · titanium white · cadmium yellow · cadmium red

Achieve the muted tones by mixing complementary colors (e.g., burnt umber and ultramarine blue). Use white sparingly to lighten values without making colors too bright. Mix small amounts of cadmium red into the yellow ochre for warmer tones.

techniques

·atmospheric perspective
·wet-on-wet blending
·scumbling
·broken color
·rendering reflections

common pitfalls

→Overworking the details and losing the overall atmospheric effect.
→Making the colors too bright and saturated.
→Failing to capture the subtle variations in value and color in the water.
→Not establishing a strong focal point.

materials

surface · stretched canvas

required

·stretched canvas 12x16
·burnt umber oil paint
·yellow ochre oil paint
·ultramarine blue oil paint
·titanium white oil paint
·round brushes (sizes 2, 4, 6)
·linseed oil
·odorless mineral spirits

optional

·palette knife
·medium gloss
·easel

Use a canvas with a smooth surface for easier blending. Consider using a toned canvas (e.g., with a wash of burnt umber) to establish a warm undertone.

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