apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Lackawanna Valley
The Lackawanna Valley by George Inness

plate no. 3331

The Lackawanna Valley

George Inness, 1855

oilTonalismlandscapelandscapetrainvalleytreesfigurebuildings
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective, color mixing for natural light, and creating depth in a landscape composition. It also provides practice in rendering various textures, from foliage to distant mountains.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the horizon line and major elements like the tree, train, and buildings.

  2. step 02

    Establish the sky with a light blue wash, blending it softly towards the horizon.

  3. step 03

    Block in the distant mountains with muted blues and greens to create atmospheric perspective.

  4. step 04

    Paint the middle ground, including the fields and trees, using a variety of greens and browns.

  5. step 05

    Add the details of the town and train, paying attention to perspective and scale.

  6. step 06

    Paint the foreground elements, including the tree, figure, and ground details, with richer colors and textures.

  7. step 07

    Refine the details and add highlights to create depth and dimension.

  8. step 08

    Glaze with thin layers to unify the colors and create a sense of atmosphere.

color palette

primary · sap green · raw umber · cerulean blue · titanium white

secondary · burnt sienna · yellow ochre · cadmium red light

Achieve the muted greens by mixing sap green with raw umber and titanium white. Create atmospheric perspective by adding blue and white to distant colors. Use burnt sienna and yellow ochre to warm up the foreground.

techniques

  • ·atmospheric perspective
  • ·glazing
  • ·scumbling
  • ·dry brushing
  • ·color mixing

common pitfalls

  • →Failing to create a sense of depth through atmospheric perspective.
  • →Using colors that are too bright or saturated, which can flatten the image.
  • →Overworking the details, which can make the painting look stiff.
  • →Ignoring the subtle color variations in the landscape.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints (sap green, raw umber, cerulean blue, titanium white, burnt sienna, yellow ochre, cadmium red light)
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife

optional

  • ·retouch varnish
  • ·painting medium

Use a medium-tooth canvas for a good balance of texture and detail. Consider using a limited palette to simplify color mixing.

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

Spring, Hudson River

Spring, Hudson River

Leon Dabo

Oraibi, Hopi village, Arizona

Oraibi, Hopi village, Arizona

Xavier Martinez

The Farmyard

The Farmyard

Albert Pinkham Ryder

Woodland Vista

Woodland Vista

Ralph Blakelock

Landscape

Landscape

Leon Dabo

Untitled (Moon Over a Harbor)

Untitled (Moon Over a Harbor)

Edward Mitchell Bannister

Afternoon in Piedmont (Elsie Whitaker Martinez)

Afternoon in Piedmont (Elsie Whitaker Martinez)

Xavier Martinez

Near Conway, North Wales

Near Conway, North Wales

Alexander Helwig Wyant