apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Loing at Moret in Summer
The Loing at Moret in Summer by Alfred Sisley

plate no. 0316

The Loing at Moret in Summer

Alfred Sisley, 1891

oil, canvasImpressionismlandscaperivertreesbuildingskygrassfigure
some experience helpful

Recreating this painting will help students develop skills in impressionistic brushwork and color mixing to capture the effects of light and atmosphere. It also provides practice in creating depth through layering and atmospheric perspective.

technical profile

palette complexity
4
brushwork visibility
5
value contrast
3
compositional simplicity
3

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the building, trees, and river.

  2. step 02

    Block in the sky with light blue, adding hints of white for clouds.

  3. step 03

    Establish the base colors for the building and trees, using a mix of greens, browns, and blues.

  4. step 04

    Begin layering brushstrokes to create texture and depth in the trees and grass.

  5. step 05

    Paint the river, reflecting the colors of the sky and surrounding foliage.

  6. step 06

    Add details to the building, such as windows and architectural features.

  7. step 07

    Refine the foreground elements, focusing on the texture of the grass and reeds.

  8. step 08

    Add the figure, keeping it simple and in proportion to the landscape.

color palette

primary · cerulean blue · yellow ochre · sap green · burnt umber

secondary · titanium white · cadmium yellow · alizarin crimson

Mix greens by combining blues and yellows, and create variations in tone by adding white or burnt umber. Achieve atmospheric perspective by lightening and muting colors in the distance.

techniques

  • ·broken color
  • ·wet-on-wet blending
  • ·scumbling
  • ·impasto
  • ·layering

common pitfalls

  • →Overworking the details
  • →Using too much detail in the distance
  • →Creating muddy colors by over-mixing
  • →Ignoring the effects of light and shadow

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·round brushes
  • ·flat brushes
  • ·palette
  • ·linseed oil
  • ·turpentine

optional

  • ·palette knife
  • ·easel
  • ·painting medium
  • ·rags

Use a medium-grain canvas to allow for texture. 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 →color theory for painters →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

View of the Bosphorus and Rumeli Hisarı

View of the Bosphorus and Rumeli Hisarı

Sevket Dag

Paysage du Midi

Paysage du Midi

Armand Guillaumin

Self-Portrait

Self-Portrait

Frederic Bazille

Tip of the Bay

Tip of the Bay

Max Kurzweil

Long Stemmed Lovelies

Long Stemmed Lovelies

Pino Daeni

At Rosetta, Lower Egypt

At Rosetta, Lower Egypt

John Varley II

House from Oltenia

House from Oltenia

Theodor Pallady

Jewish quarter in Amsterdam

Jewish quarter in Amsterdam

Max Liebermann