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home·artworks·View of Cracow Suburb leading to the Castle Square
View of Cracow Suburb leading to the Castle Square by Bernardo Bellotto

plate no. 6337

View of Cracow Suburb leading to the Castle Square

Bernardo Bellotto, 1774

oil, canvasRocococityscapecityscapebuildingsfiguresskycloudscarriages
experienced study

Recreating this painting will help students develop skills in perspective, atmospheric perspective, and rendering complex scenes with many details. It also provides practice in depicting figures and architectural elements.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic composition, focusing on perspective lines for the buildings and street.

  2. step 02

    Establish the horizon line and vanishing points.

  3. step 03

    Block in the main shapes of the buildings and sky with thin washes of color.

  4. step 04

    Gradually build up the details of the architecture, using darker values for shadows and lighter values for highlights.

  5. step 05

    Add the figures and carriages, paying attention to their relative sizes and positions within the scene.

  6. step 06

    Refine the details of the sky and clouds, using soft blending techniques.

  7. step 07

    Add final details and highlights to the figures and buildings.

  8. step 08

    Glaze with thin layers to unify the painting.

color palette

primary · raw umber · titanium white · burnt sienna

secondary · ultramarine blue · yellow ochre · cadmium red

Mix various shades of gray and brown by combining raw umber, ultramarine blue, and titanium white. Use small amounts of cadmium red and yellow ochre to warm up the browns and create subtle color variations.

techniques

  • ·linear perspective
  • ·atmospheric perspective
  • ·glazing
  • ·scumbling
  • ·rendering details

common pitfalls

  • →Incorrect perspective leading to distorted buildings.
  • →Overworking details too early in the process.
  • →Using colors that are too saturated.
  • →Ignoring the effects of atmospheric perspective.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·burnt sienna oil paint
  • ·ultramarine blue oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil
  • ·odorless mineral spirits

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a medium-grain canvas for best results. Consider using a toned canvas to establish a base color.

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