plate no. 6524
Breakfast in the Loggia
John Singer Sargent, 1910
some experience helpful
Recreating this painting will help students develop skills in capturing light and shadow, as well as rendering architectural details and figures in an impressionistic style. It's also a good exercise in color temperature and atmospheric perspective.
technical profile
palette complexity
4
brushwork visibility
4
value contrast
4
compositional simplicity
3
study guide
est. 12 hrsapproach — 8 steps
- step 01
Lightly sketch the main shapes and composition, focusing on the perspective of the loggia.
- step 02
Establish the basic values and light/shadow patterns with a thin wash of color.
- step 03
Block in the main color areas: the walls, columns, figures, and foliage.
- step 04
Develop the shadows and highlights, paying attention to the warm and cool tones.
- step 05
Add details to the figures and objects on the table.
- step 06
Refine the architectural details and foliage, using broken brushstrokes.
- step 07
Soften edges and blend colors where needed to create a sense of atmosphere.
- step 08
Add final highlights and details to bring the painting to life.
color palette
primary · titanium white · yellow ochre · ultramarine blue · burnt umber
secondary · cadmium yellow · alizarin crimson · viridian green
Mix warm grays for the sunlit areas of the architecture by combining white, yellow ochre, and a touch of burnt umber. Use ultramarine blue and burnt umber to create cool shadows. Add alizarin crimson to yellow ochre for warm highlights.
techniques
- ·broken color
- ·scumbling
- ·chiaroscuro
- ·atmospheric perspective
- ·alla prima
common pitfalls
- →Getting the perspective of the loggia wrong.
- →Overworking the details and losing the impressionistic feel.
- →Not capturing the subtle color variations in the light and shadow.
- →Making the shadows too dark or the highlights too bright.
materials
surface · stretched canvas
required
- ·stretched canvas (18x24 inches)
- ·oil paints
- ·palette
- ·palette knife
- ·assorted brushes (round and flat)
- ·linseed oil
- ·turpentine or odorless mineral spirits
- ·rags
optional
- ·painting medium (e.g., Liquin)
- ·easel
- ·varnish
Use a medium-tooth canvas for best results. Consider toning the canvas with a thin wash of burnt umber before starting.
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