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home·artworks·Under an Arbour
Under an Arbour by Max Slevogt

plate no. 7686

Under an Arbour

Max Slevogt, 1901

oilImpressionismlandscapearborpathtreesgardencatsfoliage
some experience helpful

Recreating this painting will help students develop skills in impressionistic brushwork and color mixing to represent light and shadow in a garden setting. It also provides practice in creating depth and perspective through color and value changes.

technical profile

palette complexity
4
brushwork visibility
5
value contrast
3
compositional simplicity
3

study guide

est. 10 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the perspective of the path and the structure of the arbor.

  2. step 02

    Block in the main color areas: the path, the foliage, the sky, and the arbor structure.

  3. step 03

    Start adding details to the path, using short, broken brushstrokes to create texture and variation in color.

  4. step 04

    Develop the foliage with layers of greens, yellows, and browns, using a variety of brushstrokes to suggest different textures.

  5. step 05

    Add the details of the arbor, paying attention to the way the light filters through the leaves and branches.

  6. step 06

    Paint the cats in the foreground, using quick, expressive brushstrokes.

  7. step 07

    Refine the details and adjust the values to create a sense of depth and atmosphere.

  8. step 08

    Add final highlights and shadows to enhance the overall effect.

color palette

primary · yellow ochre · burnt sienna · sap green · titanium white

secondary · cadmium red · ultramarine blue · raw umber

Mix greens by combining yellow ochre and ultramarine blue; vary the proportions for different shades. Use burnt sienna and white for the path, adding touches of red and yellow for warmth. Create shadows by adding raw umber to the local color.

techniques

  • ·broken brushstrokes
  • ·color layering
  • ·scumbling
  • ·wet-on-dry
  • ·impasto

common pitfalls

  • →overworking the details
  • →flattening the perspective
  • →using too much detail in the background
  • →not varying brushstrokes enough

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·oil paints (yellow ochre, burnt sienna, sap green, titanium white, cadmium red, ultramarine blue, raw umber)
  • ·#4 round brush
  • ·#6 flat brush
  • ·#8 filbert brush
  • ·palette
  • ·linseed oil
  • ·turpentine

optional

  • ·palette knife
  • ·painting medium
  • ·easel

Use a medium-tooth canvas for better texture. Consider using a fast-drying medium to speed up the drying time.

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related guides

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