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home·artworks·At the Fountain
At the Fountain by Léon Augustin Lhermitte

plate no. 1079

At the Fountain

Léon Augustin Lhermitte

oilRealismgenre paintingfiguresfountainvillagebuildingslandscapechildren
some experience helpful

Recreating this painting will help students develop skills in rendering figures in a landscape setting and capturing the subtle nuances of light and shadow in a muted color palette. It also provides practice in depicting textures like stone and foliage with visible brushstrokes.

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 compositional elements: figures, fountain, buildings, and horizon line.

  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 for the figures, buildings, and foliage, focusing on accurate color temperature.

  4. step 04

    Begin refining the forms of the figures, paying attention to anatomical details and clothing folds.

  5. step 05

    Develop the textures of the fountain and buildings using broken brushstrokes and layering.

  6. step 06

    Add details to the foliage, varying the greens and browns to create depth and interest.

  7. step 07

    Refine the lighting and shadows, adding highlights and deepening shadows to create form.

  8. step 08

    Add final details and adjust values to create a cohesive and harmonious composition.

color palette

primary · burnt umber · raw sienna · titanium white

secondary · yellow ochre · payne's gray · sap green

Achieve the muted greens by mixing yellow ochre, sap green, and a touch of burnt umber. Use payne's gray and white to create the cool grays for the stone fountain and buildings.

techniques

  • ·broken color
  • ·scumbling
  • ·dry brushing
  • ·glazing
  • ·chiaroscuro

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using overly saturated colors.
  • →Ignoring the subtle variations in color temperature.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·sap green oil paint
  • ·payne's gray oil paint
  • ·assorted round and flat brushes

optional

  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits
  • ·medium gloss

Use a medium-tooth canvas to allow for texture. Consider using a toned ground to simplify the initial stages.

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