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home·artworks·The Moat of the Zwinger in Dresden
The Moat of the Zwinger in Dresden by Bernardo Bellotto

plate no. 9835

The Moat of the Zwinger in Dresden

Bernardo Bellotto, 1751

oil, canvasRocococityscapecityscapewaterbuildingstreesskyswans
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and rendering reflections in water. It also provides practice in depicting architectural details and foliage.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, paying attention to the perspective of the buildings and the water.

  2. step 02

    Block in the sky with light, muted colors, creating a soft, cloudy effect.

  3. step 03

    Establish the base tones for the water, buildings, and trees, focusing on the overall value structure.

  4. step 04

    Begin adding details to the buildings, including windows, columns, and rooflines.

  5. step 05

    Develop the foliage, using a variety of greens and browns to create depth and texture.

  6. step 06

    Paint the reflections in the water, mirroring the colors and shapes of the buildings and trees.

  7. step 07

    Add the swans and other small details to bring the painting to life.

  8. step 08

    Refine the details and adjust the values to create a sense of atmosphere and realism.

color palette

primary · raw umber · titanium white · Prussian blue

secondary · yellow ochre · burnt sienna · ivory black

Achieve the muted tones by mixing white with small amounts of umber, blue, and ochre. Use burnt sienna and umber for the warm tones in the buildings and reflections.

techniques

  • ·atmospheric perspective
  • ·glazing
  • ·rendering reflections
  • ·linear perspective
  • ·scumbling

common pitfalls

  • →Getting the perspective wrong, which can make the buildings look distorted.
  • →Overworking the details, which can make the painting look stiff and unnatural.
  • →Failing to capture the subtle variations in color and value, which can flatten the image.
  • →Ignoring the importance of atmospheric perspective, which can make the background appear too sharp.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·Prussian blue oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·ivory black oil paint
  • ·assorted brushes (round and flat)

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine

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

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