apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Piazzetta, Looking toward the Clock Tower
The Piazzetta, Looking toward the Clock Tower by Canaletto

plate no. 4862

The Piazzetta, Looking toward the Clock Tower

Canaletto, 1727

oil, canvasBaroquecityscapecityscapebuildingsfiguresskyarchitectureplaza
some experience helpful

Recreating this painting will help students develop skills in perspective drawing, atmospheric perspective, and capturing the nuances of light and shadow on architectural forms. It also offers practice in rendering figures within a landscape setting.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the basic perspective and placement of the main architectural elements (buildings, tower, columns).

  2. step 02

    Block in the large shapes of the sky and ground with diluted washes of color.

  3. step 03

    Establish the main value contrasts on the buildings, paying attention to the direction of light.

  4. step 04

    Start adding details to the buildings, focusing on the architectural features like arches, windows, and ornamentation.

  5. step 05

    Paint the figures in the foreground, simplifying their forms and focusing on their gestures and clothing.

  6. step 06

    Develop the atmospheric perspective by softening the details and lightening the values of the buildings in the distance.

  7. step 07

    Add highlights and shadows to create depth and dimension.

  8. step 08

    Refine the details and adjust the colors to achieve a harmonious overall effect.

color palette

primary · ultramarine blue · yellow ochre · burnt umber · titanium white

secondary · cadmium red · ivory black

Mix various shades of blue and white for the sky. Use yellow ochre and burnt umber for the buildings, adding white for highlights and black for shadows. Mix red and umber for the figures' robes.

techniques

  • ·linear perspective
  • ·atmospheric perspective
  • ·glazing
  • ·scumbling
  • ·broken color

common pitfalls

  • →Getting the perspective wrong, which will distort the entire composition.
  • →Overworking the details, which can make the painting look stiff and unnatural.
  • →Failing to create a sense of depth and atmosphere.
  • →Ignoring the subtle color variations in the buildings and sky.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints
  • ·turpentine or odorless mineral spirits
  • ·linseed oil
  • ·palette
  • ·assorted brushes (round and flat)
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·easel
  • ·mahl stick

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

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →chiaroscuro →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Girl with a Straw Hat

Girl with a Straw Hat

Judith Leyster

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Abraham Storck

Bathsheba Bathing

Bathsheba Bathing

Francesco Solimena

Repentant Peter

Repentant Peter

Guido Reni

Itinerant Musicians

Itinerant Musicians

Jacob Ochtervelt

Marie Christine

Marie Christine

Marcello Bacciarelli

Santa Cecilia E Due Angeli

Santa Cecilia E Due Angeli

Giulio Cesare Procaccini

Scene from the Life of Saint Benedict

Scene from the Life of Saint Benedict

Philippe de Champaigne