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home·artworks·The Marble Staircase which Leads up to S. Maria in Aracoeli in Rome
The Marble Staircase which Leads up to S. Maria in Aracoeli in Rome by Christoffer Wilhelm Eckersberg

plate no. 2180

The Marble Staircase which Leads up to S. Maria in Aracoeli in Rome

Christoffer Wilhelm Eckersberg, 1816

oil, canvasNeoclassicismcityscapearchitecturestairsfigurescityscapebuildingssky
some experience helpful

Recreating this painting will help students develop skills in perspective, color mixing for natural light, and rendering architectural details. It also provides practice in depicting figures within a landscape.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the perspective and major architectural elements.

  2. step 02

    Block in the main shapes of the buildings and the staircase with diluted washes of color.

  3. step 03

    Establish the sky and cloud formations with soft, blended brushstrokes.

  4. step 04

    Develop the values on the buildings, paying attention to light and shadow.

  5. step 05

    Add details to the architecture, such as windows, doors, and decorative elements.

  6. step 06

    Paint the figures, starting with general shapes and then adding details.

  7. step 07

    Refine the foreground cobblestones and add final details to the overall composition.

  8. step 08

    Glaze with thin layers to unify the colors and create depth.

color palette

primary · raw umber · titanium white · yellow ochre

secondary · burnt sienna · ultramarine blue · cadmium red light

Achieve the warm tones of the buildings by mixing raw umber, yellow ochre, and burnt sienna. Use ultramarine blue and white for the sky, and add a touch of red for the clouds.

techniques

  • ·linear perspective
  • ·atmospheric perspective
  • ·glazing
  • ·scumbling
  • ·dry brushing

common pitfalls

  • →Incorrect perspective leading to distorted buildings
  • →Overly saturated colors that detract from the natural light
  • →Neglecting the subtle value changes in the architecture
  • →Rushing the initial sketch and blocking in stages

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·ultramarine blue oil paint
  • ·titanium white oil paint
  • ·linseed oil
  • ·turpentine

optional

  • ·palette knife
  • ·medium gloss
  • ·retouch varnish

Use a medium-grain canvas for best results. Allow each layer to dry before applying the next.

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oil painting for beginners →how to learn by studying the masters →
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