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home·artworks·View of the Tiburtine Gate of the Aurelian Wall in Rome
View of the Tiburtine Gate of the Aurelian Wall in Rome by Ernst Meyer

plate no. 6052

View of the Tiburtine Gate of the Aurelian Wall in Rome

Ernst Meyer

oil, paper, cardboardRomanticismcityscapearchitecturewalltowerskyvegetationcityscape
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and rendering the texture of aged brick and stone. It also provides practice in simplifying complex architectural forms into basic shapes.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes of the towers and walls, paying attention to their proportions and placement on the canvas.

  2. step 02

    Block in the large areas of color, starting with the sky and then moving to the walls and ground.

  3. step 03

    Establish the light and shadow patterns on the walls and towers, using darker values for the shadows and lighter values for the highlights.

  4. step 04

    Add details to the walls and towers, such as the crenellations, windows, and vegetation.

  5. step 05

    Refine the colors and values, paying attention to the subtle variations in tone.

  6. step 06

    Add the final details, such as the texture of the brick and stone, and the small plants growing on the walls.

  7. step 07

    Glaze with thin layers to unify the painting and create depth.

  8. step 08

    Add final highlights and shadows to enhance the sense of realism.

color palette

primary · burnt umber · raw sienna · titanium white

secondary · ultramarine blue · yellow ochre · sap green

Achieve the aged brick color by mixing burnt umber and raw sienna with small amounts of yellow ochre and titanium white. Create the sky by mixing titanium white with a touch of ultramarine blue.

techniques

  • ·dry brushing
  • ·scumbling
  • ·glazing
  • ·atmospheric perspective
  • ·value studies

common pitfalls

  • →Overworking the details and losing the overall sense of atmosphere.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated.
  • →Ignoring the subtle variations in tone.

materials

surface · stretched canvas

required

  • ·stretched canvas (12x16 inches)
  • ·oil paints (burnt umber, raw sienna, titanium white, ultramarine blue, yellow ochre, sap green)
  • ·palette
  • ·palette knife
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·assorted brushes (round and flat)
  • ·rags

optional

  • ·medium (e.g., Liquin)
  • ·varnish

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

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