apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·View of the interior of the Colosseum
View of the interior of the Colosseum by Christoffer Wilhelm Eckersberg

plate no. 1839

View of the interior of the Colosseum

Christoffer Wilhelm Eckersberg, 1816

canvas, oilNeoclassicismgenre paintingarchitectureruinsfiguresreligionbuildinglandscape
experienced study

Recreating this painting will help students develop skills in rendering architectural details, depicting figures in a landscape, and creating a sense of depth through atmospheric perspective. It also offers practice with subtle color variations and blending.

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

    Create a preliminary sketch outlining the main architectural structures and the placement of figures.

  2. step 02

    Block in the large shapes of the buildings and ruins using thin washes of color.

  3. step 03

    Establish the basic color tones for the sky and the ground.

  4. step 04

    Begin adding details to the architecture, focusing on the texture and form of the stone.

  5. step 05

    Paint the figures, paying attention to their proportions and clothing.

  6. step 06

    Add highlights and shadows to create depth and dimension.

  7. step 07

    Refine the details of the foliage and other elements in the landscape.

  8. step 08

    Add final details and adjust values to create a cohesive composition.

color palette

primary · burnt umber · raw sienna · titanium white · ultramarine blue

secondary · yellow ochre · cadmium red · ivory black

Achieve the muted tones of the buildings and ruins by mixing burnt umber, raw sienna, and white. Create the sky by blending ultramarine blue and white. Use small amounts of cadmium red to add warmth to the brick.

techniques

  • ·glazing
  • ·scumbling
  • ·dry brushing
  • ·atmospheric perspective
  • ·chiaroscuro

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too bright or saturated.
  • →Ignoring the principles of atmospheric perspective.

materials

surface · stretched canvas

required

  • ·stretched canvas (18x24 inches)
  • ·oil paints (burnt umber, raw sienna, titanium white, ultramarine blue, yellow ochre, cadmium red, ivory black)
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round and flat, sizes 2-8)
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use high-quality oil paints for best results. Allow each layer to dry before applying the next.

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

Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Marie-Gabrielle Capet

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

Giovanni Battista Piranesi

Portrait of Louis d'Orleans

Portrait of Louis d'Orleans

Franz Xaver Winterhalter

Rooftops in the shadows

Rooftops in the shadows

Pierre-Henri de Valenciennes

The Schmadribach Falls

The Schmadribach Falls

Joseph Anton Koch

A Scene from 'As You Like It' by William Shakespeare

A Scene from 'As You Like It' by William Shakespeare

William Hamilton

Portrait of Klementyna Ostrowska Née Sanguszko

Portrait of Klementyna Ostrowska Née Sanguszko

Vincenzo Camuccini

Self-Portrait

Self-Portrait

Anton Raphael Mengs