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home·artworks·After the Bath
After the Bath by Edward Mitchell Bannister

plate no. 8692

After the Bath

Edward Mitchell Bannister, 1891

oilTonalismgenre paintingbuildingtreesfiguresanimalslandscapecart
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and layering techniques to create depth. They will also practice mixing muted tones and capturing subtle light variations in a landscape.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the building, trees, and figures.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber or a similar earth tone.

  3. step 03

    Block in the main color masses, starting with the darkest areas and gradually moving to the lighter ones.

  4. step 04

    Develop the details of the building, paying attention to the subtle variations in color and value.

  5. step 05

    Add the trees and foliage, using broken brushstrokes to create texture and depth.

  6. step 06

    Paint the figures and animals, simplifying their forms and focusing on their overall shapes.

  7. step 07

    Refine the details and adjust the values to create a sense of atmosphere and depth.

  8. step 08

    Add final highlights and shadows to enhance the overall effect.

color palette

primary · burnt umber · raw sienna · titanium white · ivory black

secondary · yellow ochre · cadmium red light · sap green · ultramarine blue

Mix muted greens by combining yellow ochre, ultramarine blue, and a touch of burnt umber. Achieve the off-white of the building by mixing titanium white with small amounts of raw sienna and burnt umber.

techniques

  • ·scumbling
  • ·dry brushing
  • ·glazing
  • ·atmospheric perspective
  • ·broken color

common pitfalls

  • →Overworking the details and losing the overall sense of atmosphere.
  • →Using colors that are too bright or saturated.
  • →Failing to establish a clear value structure.
  • →Neglecting the importance of edges and transitions.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil
  • ·palette

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a medium-grit canvas to allow for better paint adhesion and texture.

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