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home·artworks·The Patio De San Miguel In The Cathedral Of Seville
The Patio De San Miguel In The Cathedral Of Seville by Raimundo de Madrazo

plate no. 6847

The Patio De San Miguel In The Cathedral Of Seville

Raimundo de Madrazo, 1868

oil, boardRealismgenre paintingbuildingchildrenfoliagecourtyardskyarchitecture
some experience helpful

Recreating this painting will help students develop skills in depicting light and shadow on architectural forms and rendering complex textures with visible brushstrokes. Students will also learn to create depth using atmospheric perspective and color variation.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the basic composition and perspective of the building and courtyard.

  2. step 02

    Block in the large shapes of the building, sky, and ground with thin washes of color.

  3. step 03

    Establish the main light and shadow patterns on the building, paying attention to the direction of the light source.

  4. step 04

    Start building up the texture of the foliage and ground with short, broken brushstrokes.

  5. step 05

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

  6. step 06

    Paint the figures in the foreground, focusing on capturing their poses and interactions.

  7. step 07

    Refine the colors and values throughout the painting, adjusting the overall balance and harmony.

  8. step 08

    Add final details and highlights to bring the painting to life.

color palette

primary · titanium white · raw umber · viridian · cerulean blue

secondary · burnt sienna · cadmium yellow light · alizarin crimson

Achieve the off-white of the building by mixing titanium white with small amounts of raw umber and burnt sienna. Create the greens of the foliage by mixing viridian with cadmium yellow light and raw umber. Use cerulean blue and titanium white for the sky.

techniques

  • ·broken color
  • ·scumbling
  • ·alla prima
  • ·atmospheric perspective
  • ·chiaroscuro

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated or intense.
  • →Ignoring the effects of atmospheric perspective.

materials

surface · stretched canvas

required

  • ·stretched canvas 12x16
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

  • ·medium gloss
  • ·easel
  • ·mahl stick

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

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