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home·artworks·Visit of Frederick Hendriks II to Dordrecht in 1646
Visit of Frederick Hendriks II to Dordrecht in 1646 by Simon de Vlieger

plate no. 0390

Visit of Frederick Hendriks II to Dordrecht in 1646

Simon de Vlieger, 1649

oil, canvasBaroquemarinaboatswaterskycloudsfiguressails
experienced study

Recreating this painting will help students develop skills in atmospheric perspective and rendering reflections in water. It also provides practice in depicting complex scenes with many elements.

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

    Sketch the basic composition, focusing on the placement of the horizon line and major boat shapes.

  2. step 02

    Block in the sky with light blues, grays, and whites, blending softly to create cloud formations.

  3. step 03

    Establish the base color of the water, using muted browns and grays, and indicate the general direction of reflections.

  4. step 04

    Paint the larger boats, starting with the darkest values and gradually adding highlights to define their forms.

  5. step 05

    Add details to the boats, such as rigging, sails, and figures, paying attention to their relative sizes and positions.

  6. step 06

    Refine the reflections in the water, using similar colors and values as the objects above, but with softened edges.

  7. step 07

    Add smaller boats and distant details to create depth and atmosphere.

  8. step 08

    Glaze with thin layers of color to unify the painting and enhance the overall mood.

color palette

primary · raw umber · titanium white · Prussian blue

secondary · yellow ochre · burnt sienna · ivory black

Achieve the muted tones by mixing complementary colors and adding white. Use thin glazes of raw umber and burnt sienna to create the warm, atmospheric effect.

techniques

  • ·atmospheric perspective
  • ·glazing
  • ·scumbling
  • ·rendering reflections
  • ·tonal painting

common pitfalls

  • →Overworking details too early
  • →Creating too much contrast in the reflections
  • →Ignoring atmospheric perspective, making distant objects too sharp
  • →Using colors that are too bright or saturated

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·Prussian blue oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·ivory black oil paint
  • ·linseed oil

optional

  • ·palette knife
  • ·retouch varnish
  • ·medium gloss
  • ·painting medium

Use a medium-grain canvas for best results. Consider using a toned canvas to establish a base color.

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related guides

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