apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·View of Mount Etna from Taormina
View of Mount Etna from Taormina by Thomas Cole

plate no. 5629

View of Mount Etna from Taormina

Thomas Cole, 1837

oil, canvasRomanticismlandscapemountainsruinslandscapeskyhillsarchitecture
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and rendering complex textures like stone and foliage. It also provides practice in creating a sense of depth and distance in a landscape.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the mountain, ruins, and horizon line.

  2. step 02

    Establish the sky with a gradient of blues and pinks, blending smoothly.

  3. step 03

    Block in the distant landscape with muted colors, paying attention to value changes to create depth.

  4. step 04

    Paint the mountain, focusing on the highlights and shadows to define its form.

  5. step 05

    Begin detailing the ruins, using a variety of browns and grays to create texture and age.

  6. step 06

    Add the foliage around the ruins, using short, broken brushstrokes to suggest leaves and vegetation.

  7. step 07

    Refine the details of the ruins and foliage, adding highlights and shadows to create depth.

  8. step 08

    Add final touches, such as small figures or details in the distance, to complete the painting.

color palette

primary · ultramarine blue · titanium white · burnt umber · cadmium yellow

secondary · alizarin crimson · yellow ochre

Mix blues and whites for the sky, adding a touch of crimson for the pink hues. Use umber, yellow ochre and white for the earth tones, and mix crimson with umber for the ruins.

techniques

  • ·atmospheric perspective
  • ·dry brushing
  • ·glazing
  • ·color blending
  • ·scumbling

common pitfalls

  • →Failing to create a sense of depth through atmospheric perspective.
  • →Overworking the details of the ruins, resulting in a flat or unrealistic appearance.
  • →Using colors that are too saturated, which can detract from the overall harmony of the painting.
  • →Ignoring the importance of value contrast in creating form and depth.

materials

surface · stretched canvas

required

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

optional

  • ·palette knife
  • ·linseed oil
  • ·medium gloss

Use a canvas with a medium texture to allow for better paint adhesion. Consider using a toned canvas to help establish the overall color harmony.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Romantic Landscape

Romantic Landscape

Karl Lessing

Self-portrait with his brother Francesco

Self-portrait with his brother Francesco

Giuseppe Tominz

Oenone Refuse de Secourir Pâris au Siège de Troie

Oenone Refuse de Secourir Pâris au Siège de Troie

Léon Cogniet

Duke of Alba

Duke of Alba

Francisco Goya

Blick Aus Dem Wald Ins Tal

Blick Aus Dem Wald Ins Tal

Andreas Achenbach

Young Girl Fixing Her Hair

Young Girl Fixing Her Hair

Sophie Gengembre Anderson

The Plough Inn

The Plough Inn

William Shayer

Hudson River Landscape

Hudson River Landscape

Johann Hermann Carmiencke