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Three destinations by Remedios Varo

plate no. 5620

Three destinations

Remedios Varo, 1956

oil, masoniteSurrealismsymbolic paintingbuildingsfiguresarchitecturelightstairsnight
experienced study

Recreating this painting will help students develop skills in rendering architectural forms with subtle color variations and creating a sense of depth through atmospheric perspective. It also provides practice in painting figures within complex environments.

technical profile

palette complexity
4
brushwork visibility
3
value contrast
4
compositional simplicity
2

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic architectural structure and the placement of the figures, paying attention to perspective.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber, focusing on the light and shadow areas.

  3. step 03

    Begin layering in the base colors for the buildings and figures, using a limited palette of earth tones.

  4. step 04

    Develop the details of the brickwork and architectural elements, using small brushes and subtle color variations.

  5. step 05

    Refine the figures, paying attention to the light and shadow on their forms and clothing.

  6. step 06

    Add the glowing light effects and the connecting lines between the figures, using thin glazes of color.

  7. step 07

    Adjust the overall color harmony and value contrast to create a cohesive and atmospheric effect.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

primary · burnt umber · raw sienna · titanium white · cadmium red

secondary · ivory black · yellow ochre · sap green

Achieve the warm, muted tones by mixing burnt umber with raw sienna and titanium white. Use small amounts of cadmium red for the brickwork and ivory black to darken shadows. Mix yellow ochre and sap green for the figures' clothing.

techniques

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

common pitfalls

  • →Overworking the details and losing the overall atmospheric effect.
  • →Failing to establish a strong value structure early on.
  • →Using colors that are too saturated and bright.
  • →Inaccurate perspective in the architectural elements.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·cadmium red oil paint
  • ·#2 round brush
  • ·#4 flat brush
  • ·linseed oil

optional

  • ·palette knife
  • ·turpentine
  • ·retouch varnish

Use a smooth canvas surface for best results. Consider using a medium to thin the oil paints for glazing.

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