Sofas & Sofa Beds Chairs & Footstools Tables Storage & Home Throws Rugs Dining Chairs Dining Table Sets Cooking & Dining Fast results: ideal for a day's paint job, this gorgeous paint leaves a touch-dry finish on your surface or walls in just 2 hours. Are you ready to unleash your inner artist and take your painting to the next level? JOIN MY ONLINE ART SCHOOL In this video I show you how to paint a coastal seascape featuring cliffs and the ocean around the south coast of Guernsey, a small island located in the English Channel. I finish up the painting by adding my highlights and final details at the end of the painting. I make refinements to the clouds adding a bit more highlight and I add highlight using my lightest tones to the white water around the base of the cliffs. For this I am using titanium white with a little yellow oxide. I also add foam to some of the waves in the distant to make it look like there is a swell in the sea.

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Just the highest quality video content for all figurative artists, from beginners to advanced practitioners. If you have any questions about painting seascapes or anything art related please leave them in the comments section below and I will do my best to answer them 🙂 Certainly there is much influence of Turner in this work, both in the atmospheric effect and in the almost contradictory role of the sun, striking but almost powerless in the middle of the vast haze, an effect that recalls the colossal “Hannibal crossing the Alps” by the English painter. But Monet’s impressionist stroke goes even further, giving the surface of the canvas -especially the lower part- an almost abstract quality. I’m using a 25cm x 50cm canvas. I prepared it with a layer of burnt umber which helps with tone and colour. Now I prepared a whole batch of these canvas’s months ago and I mainly use either burnt sienna or burnt umber for an under painting, however I will not be using burnt umber in this painting. Touch dry in one hour under normal weather conditions. Where a second coat is required, allow up to eight hours in between coatsSmooth wood -Brush 10-12m2 per litre ,Spray 4-5m2L ,Rough sawn wood - Brush 3-5m2 per litre ,Spray 2-3m2 per litre

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Storage & Home Clearance Furniture Clearance Garden & Outdoor Clearance Lighting Clearance Electrical Clearance Tools Clearance Paint & Decorating Clearance Flooring & Tiling Clearance Building & Hardware Clearance Bathrooms & Plumbing Clearance Kitchens Clearance Terrace at Sainte Adresse” is the most representative work of this period. The bourgeois scene is developed under a strong “plein air” light. The clear limits between land, sea and sky divide the composition, vertically organized by the two flags fluttered by the ocean breeze. The painting is so delightful that we are immediately tempted to sit on one of the empty chairs to enjoy this sunny Sunday afternoon. A similar theme, but with a very different composition, is found in “Sailing at Sainte-Adresse” (1867, New York, Metropolitan Museum of Art)If you found this video interesting and helpful and you like what I do, any donations to help support my art career would be greatly appreciated.

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The works Monet painted in Sainte-Adresse in the second half of the 1860s represent a momentary change in his representation of the sea. Compared with the wild seascapes of previous years (a style that Monet would later resume), here Monet painted the sea as an instrument of entertainment for the bourgeoisie, in a style that can be related with the paintings created for the “Salon des Artistes”, a “genre” that the artist had been developing in previous years, finished with the colossal “Le Déjeuner sur l’herbe”, first exhibited in 1866. Claude Monet – Jardin a Sainte-Adresse – 1867 Now for the sea, now you may be wondering how you would paint a large body of water and not get bogged down in the complexities of the waves and light hitting the water. Well, I keep it simple! Beautiful matt colour which enhances the grain of natural wood, with 6 year weather protection on wood Before I began the painting I sketched out the composition and then a final sketch. I’d always recommend sketching before you begin a painting so you can create a good composition before you start.I add a little more lighter green into the cliffs and add some of the reddish brown foliage using a combination of burnt sienna, cadmium orange, a little quinacridone magenta and ultramarine blue. I explain how to paint the cliffs and how to make the foliage on the cliffs recede in the distant landforms. I show you how to paint the sea and simplify the complexities of the moving water in a manner that still gives the appearance of a realistic ocean. I explain how to get the tonality of the painting correct, show you how to mix a few colours and much more. Lighting Sofa In A Box Bathroom Lights Mirrors Carpets Outdoor Lighting Radiator Covers Fireplaces & Stoves Alcoholic and impulsive, Jongkind impressed the young Monet with the effects of light and atmosphere in his seascape paintings. The influence of the Dutch painter is clearly perceivable in works like “Pointe de la Hève at Sainte-Adresse” (1864, Currier Museum of Art), with its careful and strongly horizontal representation of the sky and the atmosphere. This painting was admitted in the Salon of 1865. Note the realism of the work and the use of very definite brushstrokes, which Monet later changed in works such as “Rough sea at Etretat” (1868, Paris, Musée d’Orsay)

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Before painting your shed, or any other wood in the garden, homeowners should take B&Q's advice into consideration. What about Netherlands? Well, Netherlands was for Monet ‘love at first sight’. “Everything is more beautiful than we had expected (…). Here are enough landscapes to paint throughout my whole life”, he wrote. Monet was immediately fascinated by the Dutch landscape, and especially by the town of Zaandam, with its boats and windmills. Perhaps the contemplation of the canvases by Hobbema and van Ruysdael made reemerge his early admiration for Jongkind. Or perhaps the love for the pure landscape of these old masters encouraged the artist to look for new challenges. But the truth is that the Dutch influence is visible not only in Monet’s “Dutch” paintings, but also in many of his seascapes created in the coast of Normandy. First of all I mix the colours which are primarily ultramarine blue with a little yellow oxide and titanium white. For the areas of the water that are in shadow I used the exact same colours, just less titanium white. Although not as famous as the well-know series listed above, the analysis of the “Cabane des douaniers” is fascinating. For example, in an example exhibited at the Philadelphia Museum of Art the composition is virtually identical to that of the already commented “Cliffs near Dieppe”, while in an example belonging to an American private collection the dramatic effect of the composition is not only created by the verticality, but it is also reinforced by the asymmetry caused by the diagonal of the cliff. Claude Monet: “Cabane des douaniers at Varengeville” (1882) – Boston, Museum of Fine Arts

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When painting a large body of water like this, you don’t want to have too much detail as you risk creating a distracting composition. By keeping it looser the human brain will fill in the rest of the information. Using a No.8 flat brush, I loosely mark in the form or the waves and ripples using a combination of ultramarine blue with a little yellow oxide and more titanium white. the I reinforce the shadows by using my original sea mix, ultramarine blue with a little yellow oxide and titanium white but I also add a little phthalo green into the mix too. I paint the sky with ultramarine blue and titanium white. In general I am trying to keep it simple with the colour mixing by using fewer colours. The benefits of this is that the colour mixtures look cleaner. For the whitewater that is in shadow I mix ultramarine blue with a little quinacridone magenta and titanium white. For the cloud highlights I apply lighter tone to create that 3D effects and I’ve opted for dramatic clouds in this painting, I like the edginess and drama it creates in a painting.