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home·artworks·View of a village
View of a village by Mosè Bianchi

plate no. 9121

View of a village

Mosè Bianchi, 1897

pastel, paperRealismcityscapevillagebuildingstreeslandscapeskyfoliage
some experience helpful

Recreating this painting will help students develop skills in layering colors to create depth and texture, and in simplifying complex forms into basic shapes. It also provides practice in creating atmospheric perspective.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes of the buildings, hill, and foreground.

  2. step 02

    Establish the overall color scheme by applying a thin wash of diluted browns and grays to the sky and distant hill.

  3. step 03

    Block in the larger masses of color for the buildings and foliage, focusing on the overall value structure.

  4. step 04

    Begin layering colors to create depth and texture in the foliage, using short, broken strokes.

  5. step 05

    Add details to the buildings, such as windows and architectural features, using a fine brush.

  6. step 06

    Refine the foreground with subtle variations in color and texture.

  7. step 07

    Add highlights and shadows to create a sense of form and dimension.

  8. step 08

    Review the painting and make any necessary adjustments to the composition, color, or value.

color palette

primary · burnt umber · raw sienna · titanium white

secondary · sap green · cadmium yellow · alizarin crimson

Mix browns with blues and reds to create shadows. Use white to lighten colors and create highlights. Mix greens with yellows and browns to create a variety of foliage colors.

techniques

  • ·dry brushing
  • ·layering
  • ·scumbling
  • ·color mixing
  • ·atmospheric perspective

common pitfalls

  • →Overworking the details and losing the overall sense of atmosphere.
  • →Using colors that are too saturated and creating a harsh, unnatural effect.
  • →Failing to establish a clear value structure and creating a flat, lifeless painting.
  • →Neglecting the importance of edges and creating a painting that lacks depth and dimension.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·sap green oil paint
  • ·round brushes (sizes 2, 6, 10)
  • ·linseed oil
  • ·palette

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a canvas with a medium texture to allow for better paint adhesion. Consider toning the canvas with a thin wash of burnt umber before beginning to paint.

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