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home·artworks·View of the Church of Santa Maria della Salute, on the Grand Canal, Venice, with the Dogana beyond
View of the Church of Santa Maria della Salute, on the Grand Canal, Venice, with the Dogana beyond by David Roberts

plate no. 7171

View of the Church of Santa Maria della Salute, on the Grand Canal, Venice, with the Dogana beyond

David Roberts, 1851

oilRomanticismcityscapebuildingswaterskyarchitecturecityscapechurch
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and loose, expressive brushwork to capture architectural details. It also provides practice in mixing subtle color variations to create depth and form.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes of the buildings and the horizon line.

  2. step 02

    Block in the sky with a thin wash of blue and gray, leaving some areas lighter for clouds.

  3. step 03

    Establish the main value masses of the buildings using a mix of browns and grays.

  4. step 04

    Begin adding details to the architecture, focusing on capturing the overall form rather than precise accuracy.

  5. step 05

    Use darker values to define shadows and create depth.

  6. step 06

    Add highlights to the buildings and water to create a sense of light and atmosphere.

  7. step 07

    Refine the details and adjust the values as needed.

  8. step 08

    Add final touches such as figures and boats in the foreground.

color palette

primary · raw umber · titanium white · cerulean blue

secondary · burnt sienna · yellow ochre · ivory black

Mix various shades of brown and gray by combining raw umber, burnt sienna, and ivory black with titanium white. Use cerulean blue and white for the sky, adding a touch of raw umber for a muted tone.

techniques

  • ·dry brushing
  • ·scumbling
  • ·atmospheric perspective
  • ·value sketching
  • ·broken color

common pitfalls

  • →Getting bogged down in excessive detail too early.
  • →Creating overly harsh or defined lines.
  • →Failing to establish a clear value structure.
  • →Using colors that are too saturated or bright.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·cerulean blue oil paint
  • ·ivory black oil paint
  • ·round brushes
  • ·flat brushes

optional

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

Use a medium-textured canvas to allow for expressive brushwork. Consider using a limited palette to simplify color mixing.

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