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home·artworks·The Postman
The Postman by Carl Spitzweg

plate no. 4573

The Postman

Carl Spitzweg

oilRomanticismgenre paintingbuildingsstreetfigurearchitecturefountainsky
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and rendering architectural details with light and shadow. Students will also learn to mix subtle color variations and create depth through layering.

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

    Sketch the basic composition, focusing on the perspective of the buildings and the placement of the main figure.

  2. step 02

    Establish the main light source and block in the large shadow areas with a thin wash of burnt umber or similar dark color.

  3. step 03

    Begin layering in the local colors of the buildings, starting with the mid-tones and gradually adding highlights and shadows.

  4. step 04

    Pay close attention to the color temperature of the light and shadow, using warmer tones for highlights and cooler tones for shadows.

  5. step 05

    Paint the sky and background elements, using lighter values and softer edges to create atmospheric perspective.

  6. step 06

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

  7. step 07

    Paint the figure of the postman, paying attention to the folds of the clothing and the cast shadows.

  8. step 08

    Add final details and highlights to the painting, such as the water in the fountain and the reflections on the buildings.

color palette

primary · burnt umber · raw sienna · titanium white · ultramarine blue

secondary · cadmium yellow · alizarin crimson · viridian green

Achieve the aged building colors by mixing burnt umber, raw sienna, and white with small amounts of crimson or yellow. The green uniform is a mix of blue, yellow, and a touch of umber to dull the color.

techniques

  • ·layering
  • ·glazing
  • ·dry brushing
  • ·atmospheric perspective
  • ·chiaroscuro

common pitfalls

  • →getting the perspective wrong
  • →overworking the details
  • →not creating enough depth
  • →using colors that are too saturated

materials

surface · stretched canvas

required

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

optional

  • ·medium gloss
  • ·easel
  • ·rags

Use a canvas with a smooth texture to allow for fine details. Consider using a pre-toned canvas with a warm underpainting.

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