plate no. 5814

Baccarat - the Fur Cape

Walter Sickert, 1920

oilImpressionismgenre paintingfigureshatstablechairsinteriorclothing

some experience helpful

Recreating this painting will help students develop skills in capturing form with loose brushstrokes and understanding how to create depth using color temperature and value changes. It also provides practice in simplifying complex scenes into essential shapes and colors.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 8 hrs

approach — 8 steps

step 01
Sketch the basic shapes and composition, focusing on the placement of the figures, table, and chair.
step 02
Establish the overall color scheme with a thin wash of burnt umber and raw sienna.
step 03
Block in the main areas of color, starting with the darkest values and working towards the lighter ones.
step 04
Develop the forms of the figures and objects with loose, expressive brushstrokes.
step 05
Pay attention to the subtle color variations within each area, using warm and cool tones to create depth.
step 06
Add highlights and shadows to define the forms and create a sense of light and shadow.
step 07
Refine the details, such as the patterns on the fur cape and the features of the figures.
step 08
Add final touches and adjust the overall balance of the painting.

color palette

primary · burnt umber · raw sienna · titanium white

secondary · cadmium yellow · alizarin crimson · viridian

Achieve the warm browns by mixing burnt umber with raw sienna and a touch of alizarin crimson. Use white to lighten the values and add yellow or green for highlights.

techniques

·broken color
·scumbling
·alla prima
·color temperature

common pitfalls

→Overworking the details and losing the loose, expressive quality of the original.
→Failing to establish a strong value structure, resulting in a flat and lifeless painting.
→Using colors that are too saturated, which can detract from the overall harmony of the painting.
→Ignoring the subtle color variations within each area, which can make the painting look monotonous.

materials

surface · stretched canvas

required

·stretched canvas (12x16 inches)
·oil paints (burnt umber, raw sienna, titanium white, cadmium yellow, alizarin crimson, viridian)
·linseed oil
·odorless mineral spirits
·palette
·assorted brushes (round and flat)
·palette knife