apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Large Spruce
The Large Spruce by Albrecht Altdorfer

plate no. 6538

The Large Spruce

Albrecht Altdorfer, 1522

etchingNorthern Renaissancelandscapetreelandscapemountainsbuildingsriversky
some experience helpful

Recreating this painting will help students develop skills in layering colors to create depth and texture, as well as understanding atmospheric perspective to depict distance.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic composition, focusing on the placement of the tree, mountains, and buildings.

  2. step 02

    Establish the sky with a thin wash of diluted blue and grey.

  3. step 03

    Begin layering colors on the mountains, starting with lighter tones and gradually adding darker shadows.

  4. step 04

    Paint the tree trunk, paying attention to the texture and details of the bark.

  5. step 05

    Add the foliage of the tree, using a combination of dry brushing and stippling techniques.

  6. step 06

    Paint the buildings and other details in the landscape, using a fine brush for precision.

  7. step 07

    Add the river and foreground details, using darker tones to create depth.

  8. step 08

    Refine the details and add highlights to complete the painting.

color palette

primary · raw umber · burnt sienna · Prussian blue

secondary · yellow ochre · titanium white · ivory black

Mix raw umber and Prussian blue for the darker greens of the foliage. Use titanium white to lighten colors and create highlights. Mix burnt sienna and yellow ochre for the earth tones of the mountains.

techniques

  • ·layering
  • ·dry brushing
  • ·atmospheric perspective
  • ·stippling
  • ·glazing

common pitfalls

  • →Overworking the details and losing the overall sense of atmosphere.
  • →Using too much paint and creating a muddy effect.
  • →Failing to establish a clear value structure.
  • →Ignoring the principles of atmospheric perspective.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·Prussian blue oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use high-quality oil paints for best results. A canvas with a smooth surface is recommended.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Aristotle

Aristotle

Justus van Gent

The Man of Sorrows with the Virgin Mary and St. John the Evangelist

The Man of Sorrows with the Virgin Mary and St. John the Evangelist

Martin Schongauer

The pride of the beggar sitting on the train of haughtiness

The pride of the beggar sitting on the train of haughtiness

Albrecht Altdorfer

Adoration of the Magi

Adoration of the Magi

Quentin Matsys

Christ on the Cross

Christ on the Cross

Albrecht Altdorfer

Frühling - Das Bereiten Der Blumenbeete

Frühling - Das Bereiten Der Blumenbeete

Pieter Brueghel the Younger

Group of Men

Group of Men

Rogier van der Weyden

Madonna and Child Holding a Pear

Madonna and Child Holding a Pear

Bernard Van Orley