plate no. 6902

Cherry Blossoms

Lilla Cabot Perry, 1911

oilImpressionismportraitfigureportraitflowerstablevaseinterior

some experience helpful

Recreating this painting will help students develop skills in capturing soft light and shadow, as well as creating a sense of depth and atmosphere through loose brushwork and color blending. It also provides practice in rendering the human form with subtle variations in skin tone and texture.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 15 hrs

approach — 8 steps

step 01
Lightly sketch the basic shapes and composition, focusing on the placement of the figure, table, and vase.
step 02
Establish the background with broad strokes of warm browns and ochres, creating a sense of depth.
step 03
Block in the main colors of the figure's dress and skin, using a limited palette of pinks, whites, and yellows.
step 04
Begin to refine the details of the face, paying attention to the subtle shifts in value and color.
step 05
Add the details of the vase and flowers, using a combination of loose brushstrokes and more precise lines.
step 06
Develop the highlights and shadows on the table, creating a sense of form and reflectivity.
step 07
Refine the overall composition, adjusting values and colors as needed to create a harmonious and balanced image.
step 08
Add final details and highlights to bring the painting to life.

color palette

primary · titanium white · yellow ochre · raw umber · alizarin crimson

secondary · ultramarine blue · burnt sienna

Achieve the skin tones by mixing white, yellow ochre, and a touch of alizarin crimson. The dress is primarily white with hints of pink and lavender created by adding small amounts of alizarin crimson and ultramarine blue. The background is a mix of raw umber, yellow ochre, and burnt sienna.

techniques

·broken color
·wet-on-wet blending
·scumbling
·glazing

common pitfalls

→Overworking the details, resulting in a stiff and unnatural appearance.
→Failing to capture the subtle shifts in value and color, leading to a flat and lifeless image.
→Using too much paint, resulting in a muddy and overworked surface.
→Ignoring the overall composition and focusing too much on individual elements.

materials

surface · stretched canvas

required

·stretched canvas (16x20 inches)
·oil paints (titanium white, yellow ochre, raw umber, alizarin crimson, ultramarine blue, burnt sienna)
·palette
·assorted brushes (round and flat)
·linseed oil
·turpentine or odorless mineral spirits
·palette knife
·rags