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home·artworks·View of the canal and the church of San Marco in Milan
View of the canal and the church of San Marco in Milan by Angelo Inganni

plate no. 5126

View of the canal and the church of San Marco in Milan

Angelo Inganni, 1835

oilRomanticismcityscapecanalbuildingswaterskyfiguresbridge
some experience helpful

Recreating this painting will help students develop skills in perspective, atmospheric perspective, and rendering reflections in water. It also provides practice in depicting architectural details and figures in a landscape.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, paying attention to perspective lines for the buildings and canal.

  2. step 02

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

  3. step 03

    Establish the light source and begin to define the shadows and highlights on the buildings and bridge.

  4. step 04

    Add details to the buildings, such as windows, doors, and architectural features.

  5. step 05

    Paint the water, capturing the reflections of the buildings and sky.

  6. step 06

    Add figures and boats to the scene, paying attention to their scale and placement.

  7. step 07

    Refine the details and add finishing touches, such as highlights on the water and subtle variations in the sky.

  8. step 08

    Glaze to unify the colors and add depth.

color palette

primary · raw umber · cerulean blue · titanium white

secondary · yellow ochre · burnt sienna · ivory black

Mix various shades of brown and gray for the buildings by combining raw umber, burnt sienna, and ivory black. Use cerulean blue and white to create the sky and water, adding small amounts of other colors to adjust the hue and value.

techniques

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

common pitfalls

  • →Incorrect perspective leading to distorted buildings.
  • →Overworking the details too early in the process.
  • →Failing to capture the subtle variations in color and value.
  • →Making the reflections too bright or too dark.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·cerulean blue oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·ivory black oil paint
  • ·assorted brushes (round and flat)

optional

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

Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.

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