I can’t see “Burn’t sienna” color, but I can see much black and small area with Cadmium Yellow. I will take White, Black, Quinacridone red, Cadmium Yellow med,
Phthalo Blue, Yellow ochre for that. You can take also burnt umber, but I do not use this color.

I think Cezanne would have enjoyed this challenge. He was passionate about how the parts related to the whole.

Gigalot’s given as always great advice: A black, a yellow, an orange.

Thing is, the induction of the lighting cues that our brain sees is amazing in this photo. Or course, this would be framed within the limitations of paint, and the above is a back-lit photo on a computer screen etc etc.

But with the paint, the effect of the pavement surface (North American use of the word) colour results from the influence of the over all suggested lighting/colour of the sky for example.

As in:

Foreground, middle ground, background colours of the pavement, white background:

And with the sky colour background with its influence (same browns as above):

Perhaps block in the large shapes first, starting with a dulled, slightly paler version of the colour for each major shape grouping, assessing along the way how they’re influencing each other. And bring each shape along a bit by bit, cycling through each major shape, noting the influence of the colours on one another.

So, if I were to mix, hold up a sample on the palette knife at arm’s length to compare to the source material, I would be matching for my brain adjusting for the induction of the lighting cues suggested by that sky. My resulting mix would be too light, and would against the sky colour undergo inductin to appear to me too bright as well. Phew. Once I’d gotten the sky colour the way I like, than the patches – untouched by me – would actually look different. Who knows if I could even re-create that sky. And if not, then the pavement won’t match the effect of the photo. I would focus instead on the effects within the painting, giving an interesting, probably slightly different result – but how does the sky in my painting work with the pavement in my painting to give the effect of night?

I got a colour reasonable match for the foreground patch with 4 parts Hansa Yellow light, one part Pyrrole Orange, and one part bone black, as-is. But this might not work in the painting as-is right away, since I would instead start with a much paler, duller version of this in the blocking in process. Waiting to see how those rich sky colours I’m developing step by step and their darkness influences (through chromatic induction) the pavement colours I’m progressively developing. Moving towards the mix. So I’m only suggesting what I might try, hopefully it’s a strategy that would work. Plus, move it forward a bit, leave it – setting it aside, and look at it again the next day. Fresh eyes.

Hopefully this gives you some ideas for a strategy. Cheers!