plate no. 4878

Two birches in autumn en plein air

Alfred Freddy Krupa, 1995

watercolorPost-Impressionismlandscapetreesbirchlandscapeskygrassfoliage

recreation guide

This artwork, 'Two birches in autumn en plein air' (1995), is a watercolor landscape executed in the Post-Impressionist style. As a watercolor, it relies on the transparency of pigments suspended in a water-based solution, allowing the white of the paper to serve as the light source (Source 2). The 'en plein air' designation indicates the work was likely painted outdoors to capture the specific tonal qualities, loose brushwork, and changing light conditions characteristic of landscape portraiture (Source 3). Alfred Freddy Krupa, a Croatian painter who graduated in 1995, is associated with the New Ink Art movement, suggesting a sensitivity to fluid media and line, though this specific piece utilizes traditional watercolor washes (Source 8). The composition likely features a coherent arrangement of natural scenery, specifically trees and sky, consistent with the genre's focus on depicting natural elements like weather and atmosphere (Source 4).

estimated time

4-6 hours over 1-2 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Cold-pressed watercolor paper	Provides appropriate texture and minimizes distortion when wet; cotton content is preferred for durability.	300gsm (140lb) cold-pressed cotton watercolor paper
Professional grade watercolor paints	High pigment concentration allows for intensity even with large amounts of water, essential for transparency.	Tube watercolors with gum arabic binder
Watercolor brushes	For applying washes and capturing loose brushwork typical of en plein air studies.	Synthetic or natural hair round brushes (sizes 4-12)
Water containers	For mixing pigments and cleaning brushes.	Two plastic jars

preparation

surface prep

Use high-quality watercolor paper made from linen rags or cotton, bleached by air and sunshine if possible, to avoid chemical damage to colors (Source 1). The paper should be dry and free from dampness to prevent sizing fermentation (Source 1). Cold-pressed paper is recommended for better texture and appearance (Source 2). Tape the paper to a board to keep it flat during painting.

underdrawing

Given the 'loose brushwork' and 'softness of form' associated with en plein air landscape painting (Source 3), the underdrawing should be light and minimal. Use a graphite pencil to lightly sketch the placement of the two birch trees and the horizon line. Avoid heavy lines that might show through the transparent washes.

underpainting

Watercolor technique typically involves working from light to dark, reserving the white of the paper for the lights (Source 1). There is no traditional opaque underpainting in pure watercolor; instead, begin with the lightest washes for the sky and background.

color palette

Sky Blue / Grey

Ultramarine Blue + White (reserved paper) or diluted Phthalo Blue

Sky and atmospheric background

Autumn Yellow/Orange

Cadmium Yellow + Cadmium Orange or Yellow Ochre

Birch leaves in autumn foliage

Birch Bark White/Grey

Reserved paper white + diluted Payne's Grey or Burnt Umber for shadows

Trunks of the birch trees

Earth Brown

Burnt Sienna + Burnt Umber

Ground and shadows

composition

The composition should arrange the elements (two birch trees, sky, ground) into a coherent whole (Source 4). As an en plein air work, it likely captures a specific view with attention to weather and light (Source 3). The sky is almost always included in landscape views (Source 4). The arrangement should feel natural rather than predetermined by academic rules (Source 3).

step by step

underdrawing→first pass→refining→finishing

underdrawing

step 01
Lightly sketch the two birch trees and the horizon line on the prepared paper. Keep lines faint to avoid interfering with transparency.
Tip — Ensure the paper is securely taped down.
Pencil sketch

first pass

step 02
Apply a wet-on-wet wash for the sky and distant background. Use diluted pigments to create soft transitions, capturing the 'softness of form' typical of plein air studies.
Tip — Work quickly before the paint dries to maintain fluidity.
Wet-on-wet wash
step 03
While the background is still damp or just after it dries, apply the first layer of color to the birch leaves. Use transparent washes to build up the autumn colors.
Tip — Reserve the white of the paper for the brightest highlights on the leaves and bark.
Transparent wash

refining

step 04
Add darker values to define the tree trunks and shadows. Use loose brushwork to suggest the texture of the bark and foliage without over-detailing.
Tip — Avoid overworking the paint; let the paper show through for luminosity.
Loose brushwork

finishing

step 05
Add final details and deepen shadows if necessary. Ensure the overall tonal qualities reflect the outdoor light conditions.
Tip — Check the balance between light and dark areas.
Glazing

critical techniques

Transparency

The main characteristic of watercolors, caused by the gum binder being absorbed by the paper, leaving pigment particles through which the paper shimmers (Source 2).

En Plein Air Observation

Painting outdoors to capture changing details of weather and light, resulting in loose brushwork and tonal qualities (Source 3).

Reserving Lights

In traditional watercolor, the paper is reserved for the lights, rather than painting white over dark areas (Source 1).

common pitfalls

→Using paper that has suffered from dampness, which causes sizing to ferment and decompose, leading to stains (Source 1).
→Overworking the paint, which can destroy the transparency and luminosity of the watercolor (Source 2).
→Using chemical bleaches on paper, which can be destructive to the colors (Source 1).
→Creating a predetermined look rather than capturing the natural light and weather conditions (Source 3).

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·Specific color choices for Alfred Freddy Krupa's 1995 palette are not detailed in the sources; general autumn landscape colors are inferred.
·Exact compositional layout of the two birch trees (e.g., left/right placement, height ratio) is not described in the sources.
·Specific brush types preferred by Krupa are not mentioned; general watercolor brushes are recommended.
·Whether Krupa used opaque watercolor techniques (like Chinese white) in this specific piece is unknown, though the style is Post-Impressionist which may allow for it (Source 2).

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Science of Painting↗
- CHAPTER XIII. WATER COLOURS — applied to Paper preparation, transparency, and reserving lights

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia: Watercolor painting↗
- Watercolor painting — part 1 — applied to Materials, transparency, and pigment concentration
Wikipedia: En plein air↗
- En plein air — part 1 — applied to Outdoor painting technique, loose brushwork, and capturing light
Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to Composition and inclusion of sky/weather
Wikipedia bio — Alfred Freddy Krupa↗
- Alfred Freddy Krupa — part 1 — applied to Artist context and graduation year