apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·A New Arrival
A New Arrival by Walter Osborne

plate no. 7048

A New Arrival

Walter Osborne, 1885

oilImpressionismgenre paintingfigurecatinteriorclocktableflowers
some experience helpful

Recreating this painting will help students develop skills in capturing soft light and creating a sense of atmosphere through subtle color variations and loose brushwork. It also provides practice in rendering realistic figures and animals within an interior setting.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes and composition, focusing on proportions and placement.

  2. step 02

    Establish the background with broad, loose strokes, paying attention to the subtle color variations in the wall.

  3. step 03

    Block in the main colors of the figure, cat, and other objects, focusing on the overall value structure.

  4. step 04

    Refine the details of the figure's face and clothing, using smaller brushes and more precise strokes.

  5. step 05

    Add details to the cat, capturing its fur texture and markings.

  6. step 06

    Develop the details of the background objects, such as the clock, table, and flowers.

  7. step 07

    Adjust the values and colors throughout the painting to create a sense of depth and atmosphere.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · ultramarine blue · burnt umber · titanium white · yellow ochre

secondary · cadmium yellow · alizarin crimson · raw sienna

Achieve the muted tones by mixing complementary colors and adding white. Use yellow ochre and burnt umber for warm shadows, and ultramarine blue and white for cool highlights.

techniques

  • ·broken color
  • ·scumbling
  • ·glazing
  • ·dry brushing
  • ·alla prima

common pitfalls

  • →Overworking details too early
  • →Using colors straight from the tube without mixing
  • →Ignoring the overall value structure
  • →Losing the sense of light and atmosphere

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·#2 round brush
  • ·#6 flat brush
  • ·#10 filbert brush
  • ·linseed oil
  • ·palette
  • ·palette knife

optional

  • ·painting medium
  • ·varnish
  • ·easel

Use a medium-tooth canvas for better texture. Consider using a limited palette to simplify color mixing.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →color theory for painters →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

View of the Bosphorus and Rumeli Hisarı

View of the Bosphorus and Rumeli Hisarı

Sevket Dag

Paysage du Midi

Paysage du Midi

Armand Guillaumin

Self-Portrait

Self-Portrait

Frederic Bazille

Tip of the Bay

Tip of the Bay

Max Kurzweil

Long Stemmed Lovelies

Long Stemmed Lovelies

Pino Daeni

At Rosetta, Lower Egypt

At Rosetta, Lower Egypt

John Varley II

House from Oltenia

House from Oltenia

Theodor Pallady

Jewish quarter in Amsterdam

Jewish quarter in Amsterdam

Max Liebermann