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home·artworks·The Mosque of Emir Mindar in Cairo
The Mosque of Emir Mindar in Cairo by John Varley II

plate no. 3982

The Mosque of Emir Mindar in Cairo

John Varley II, 1880

oilRealismcityscapebuildingsstreetfiguresarchitecturecityscapeminaret
experienced study

Recreating this painting will help students develop skills in perspective, color mixing for atmospheric effects, and rendering complex architectural details. It also encourages careful observation of light and shadow to create depth.

technical profile

palette complexity
4
brushwork visibility
4
value contrast
4
compositional simplicity
2

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes and perspective lines of the buildings and minaret.

  2. step 02

    Block in the sky with a thin wash of blue, fading towards the horizon.

  3. step 03

    Establish the basic values of the buildings using a limited palette of browns, creams, and grays.

  4. step 04

    Paint the figures in the street with simplified shapes and values, focusing on their placement and interaction.

  5. step 05

    Add details to the buildings, such as windows, balconies, and architectural ornaments.

  6. step 06

    Refine the light and shadow, paying attention to the direction and intensity of the sunlight.

  7. step 07

    Add final details to the figures and street scene, such as clothing folds and ground textures.

  8. step 08

    Glaze with thin washes to unify the colors and create atmospheric perspective.

color palette

primary · raw umber · titanium white · cerulean blue

secondary · burnt sienna · yellow ochre · ivory black

Achieve the warm tones of the buildings by mixing raw umber, burnt sienna, and yellow ochre with varying amounts of white. Use cerulean blue mixed with white for the sky, and add a touch of raw umber to dull the blue near the horizon.

techniques

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

common pitfalls

  • →Getting the perspective wrong, resulting in distorted buildings.
  • →Overworking the details and losing the overall impression.
  • →Using colors that are too saturated and unnatural.
  • →Ignoring the importance of light and shadow in creating depth.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints (raw umber, burnt sienna, yellow ochre, titanium white, cerulean blue, ivory black)
  • ·turpentine or odorless mineral spirits
  • ·linseed oil
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use a medium-tooth canvas for best results. Consider using a toned canvas to establish a base color.

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