apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·At the Grave
At the Grave by Anna Ancher

plate no. 7328

At the Grave

Anna Ancher, 1913

oil, canvasImpressionismportraitfigureportraitcemeterygravelandscapesky
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing subtle skin tones and drapery, as well as creating depth through atmospheric perspective in the background.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure and the horizon line.

  2. step 02

    Block in the large shapes of color, starting with the sky and background.

  3. step 03

    Establish the basic values of the figure's face and clothing.

  4. step 04

    Refine the skin tones, paying attention to the subtle shifts in color and value.

  5. step 05

    Add details to the drapery, capturing the folds and highlights.

  6. step 06

    Paint the background details, including the graves and flowers, using soft brushstrokes.

  7. step 07

    Adjust the overall color harmony and value contrast.

  8. step 08

    Add final highlights and details to the figure and background.

color palette

primary · titanium white · yellow ochre · burnt umber · ivory black

secondary · cadmium red light · ultramarine blue · sap green

Achieve skin tones by mixing yellow ochre, burnt umber, and titanium white, with small amounts of cadmium red for warmth. The sky is a blend of titanium white, yellow ochre, and a touch of ultramarine blue.

techniques

  • ·broken color
  • ·scumbling
  • ·glazing
  • ·atmospheric perspective
  • ·portraiture

common pitfalls

  • →Overworking the skin tones, resulting in a flat or muddy appearance.
  • →Failing to create a sense of depth in the background.
  • →Ignoring the subtle color variations in the drapery.
  • →Getting the proportions of the figure wrong.

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·ivory black oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·palette
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a high-quality canvas and artist-grade oil paints for best results.

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