apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Barker at a fair booth
Barker at a fair booth by Honore Daumier

plate no. 7351

Barker at a fair booth

Honore Daumier

oil, panelRealismgenre paintingfiguresfairboothbarkercrowdperformance
some experience helpful

Recreating this painting will help students develop skills in capturing figures in shadow and creating a sense of depth using value and limited color. It also provides practice in expressive brushwork to convey texture and form.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figures.

  2. step 02

    Establish the dark background tones using a mix of browns and blues.

  3. step 03

    Block in the main figures with simplified shapes and values.

  4. step 04

    Begin layering in the mid-tones and highlights on the figures, paying attention to the light source.

  5. step 05

    Develop the details of the faces and clothing, using small brushstrokes.

  6. step 06

    Add the highlights and shadows to create depth and volume.

  7. step 07

    Refine the edges and details, ensuring a cohesive and expressive feel.

  8. step 08

    Add final touches and adjust values as needed.

color palette

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

secondary · cadmium red · ultramarine blue

Mix browns and blacks to create the dark background. Use white and yellow ochre to create the skin tones, and add small amounts of red and blue for variation. Darken skin tones with burnt umber and black.

techniques

  • ·chiaroscuro
  • ·dry brush texture
  • ·scumbling
  • ·limited palette
  • ·alla prima

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using too many colors and losing the tonal harmony.
  • →Ignoring the expressive potential of the brushstrokes.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·round brushes (various sizes)
  • ·palette
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a canvas with a medium texture to allow for expressive brushwork. Consider using a toned canvas to establish a base value.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Portrait of James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy