apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Loggia
The Loggia by John William Waterhouse

plate no. 9010

The Loggia

John William Waterhouse, 1893

oilRomanticismgenre paintingfigureinteriorchaircatarchitecturewindow
some experience helpful

This painting provides a good opportunity to practice capturing light and shadow with visible brushstrokes. Students can learn to simplify complex scenes and focus on capturing the overall impression rather than precise details.

technical profile

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

study guide

est. 10 hrs

approach — 7 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figures and the main architectural elements.

  2. step 02

    Block in the large areas of color, starting with the background and working towards the foreground.

  3. step 03

    Establish the light and shadow patterns, paying attention to how light falls on the figures and objects.

  4. step 04

    Add details to the figures, such as the facial features and clothing folds, using loose brushstrokes.

  5. step 05

    Refine the architectural elements, adding details to the windows, doors, and walls.

  6. step 06

    Add the final details, such as the cat and the objects on the floor.

  7. step 07

    Adjust the colors and values as needed to create a harmonious and balanced composition.

color palette

primary · titanium white · raw umber · rose madder · ivory black

secondary · yellow ochre · cerulean blue

Mix various shades of pink by combining white and rose madder. Use raw umber and white to create the neutral tones for the walls and architecture. Add small amounts of blue to the umber for cooler shadows.

techniques

  • ·broken color
  • ·scumbling
  • ·alla prima
  • ·implied detail

common pitfalls

  • →Overworking the details and losing the loose, painterly quality.
  • →Failing to establish a strong value structure.
  • →Getting the proportions of the figures wrong.
  • →Using colors that are too saturated.

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·odorless mineral spirits

optional

  • ·painting medium (e.g. Liquin)
  • ·easel
  • ·rags

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