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home·artworks·Tiber with the Temple of Hercules Victor, Santa Maria in Cosmedin and the Ponte Rotto seen from the Convent of San Barto
Tiber with the Temple of Hercules Victor, Santa Maria in Cosmedin and the Ponte Rotto seen from the Convent of San Barto by Penry Williams

plate no. 6560

Tiber with the Temple of Hercules Victor, Santa Maria in Cosmedin and the Ponte Rotto seen from the Convent of San Barto

Penry Williams, 1828

oil, canvasRomanticismcityscaperiverbridgearchitecturefigurestreessky
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and rendering complex architectural forms. It also provides practice in depicting figures within a landscape setting.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the bridge, buildings, and figures.

  2. step 02

    Block in the main color areas of the sky, water, and land using thin washes.

  3. step 03

    Establish the values of the architectural elements, paying attention to light and shadow.

  4. step 04

    Add details to the bridge and buildings, refining their shapes and textures.

  5. step 05

    Paint the figures, focusing on their proportions and gestures.

  6. step 06

    Develop the foliage, using a variety of greens and browns.

  7. step 07

    Refine the reflections in the water, ensuring they align with the objects above.

  8. step 08

    Add final details and highlights to create depth and realism.

color palette

primary · ultramarine blue · burnt umber · yellow ochre

secondary · titanium white · cadmium red light · sap green

Mix muted greens by combining yellow ochre, ultramarine blue, and a touch of burnt umber. Achieve atmospheric perspective by lightening and desaturating colors as they recede into the distance.

techniques

  • ·atmospheric perspective
  • ·glazing
  • ·linear perspective
  • ·rendering reflections
  • ·figure painting

common pitfalls

  • →Incorrect perspective can flatten the image.
  • →Overly saturated colors can ruin the atmospheric effect.
  • →Neglecting the subtle value changes in the water can make it appear flat.
  • →Rushing the initial sketch can lead to compositional problems.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·burnt umber oil paint
  • ·yellow ochre oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil
  • ·palette

optional

  • ·palette knife
  • ·medium (e.g. Liquin)
  • ·easel

Use a medium-tooth canvas to allow for detailed brushwork. Consider toning the canvas with a thin wash of burnt umber before beginning.

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related guides

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