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home·artworks·Afternoon Silence
Afternoon Silence by Wilhelm Kotarbinski

plate no. 8611

Afternoon Silence

Wilhelm Kotarbinski, 1900

oilArt Nouveau (Modern)portraitfigurecolumnlandscapeflowersdressarchitecture
some experience helpful

Recreating this painting will help students develop skills in rendering fabric folds, creating atmospheric perspective, and capturing the subtle nuances of light and shadow on various surfaces. It also provides practice in painting realistic figures within a landscape setting.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure, column, and landscape elements.

  2. step 02

    Establish the background with a thin wash of colors, paying attention to the atmospheric perspective.

  3. step 03

    Block in the main shapes of the figure, column, and foliage with simplified color masses.

  4. step 04

    Refine the figure's features and drapery, focusing on the light and shadow patterns.

  5. step 05

    Add details to the column and surrounding architecture, including the texture and weathering.

  6. step 06

    Paint the flowers and foliage, capturing their delicate forms and colors.

  7. step 07

    Adjust the overall values and colors to create a harmonious and balanced composition.

  8. step 08

    Add final details and highlights to enhance the realism and visual interest.

color palette

primary · ivory black · yellow ochre · titanium white

secondary · viridian · burnt umber · cadmium yellow light

Achieve the muted greens by mixing viridian with yellow ochre and white. Create the skin tones by blending yellow ochre, burnt umber, and white. Use ivory black thinned with medium for the dark dress, adding touches of blue or brown for depth.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·atmospheric perspective
  • ·rendering fabric

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated or bright.
  • →Ignoring the atmospheric perspective in the background.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·linseed oil
  • ·turpentine
  • ·round brushes
  • ·flat brushes
  • ·palette knife
  • ·palette

optional

  • ·retouch varnish
  • ·painting medium
  • ·easel

Use a medium-tooth canvas for optimal texture and paint adhesion. Consider using a glazing medium to enhance the luminosity of the colors.

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