apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Contemplation – Mrs. Fisher
Contemplation – Mrs. Fisher by Edward E. Simmons

plate no. 8869

Contemplation – Mrs. Fisher

Edward E. Simmons

oilImpressionismportraitportraitfiguredresslacechairindoor
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering skin tones, as well as practicing soft blending techniques to create a sense of depth and atmosphere.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the figure and background.

  2. step 02

    Establish the main light and shadow areas with thin washes of color.

  3. step 03

    Block in the skin tones, paying attention to subtle variations in color and value.

  4. step 04

    Develop the details of the dress, focusing on the lace and fabric folds.

  5. step 05

    Add the blue sash and flower details, using brighter colors and sharper edges.

  6. step 06

    Refine the background and chair, ensuring they don't distract from the figure.

  7. step 07

    Adjust the overall color harmony and value contrast to create a cohesive image.

  8. step 08

    Add final highlights and details to bring the painting to life.

color palette

primary · titanium white · yellow ochre · burnt umber · cadmium red

secondary · ultramarine blue · alizarin crimson · ivory black

Mix skin tones by blending yellow ochre, cadmium red, and titanium white, adjusting the proportions to achieve the desired warmth and value. Use ultramarine blue and alizarin crimson to create the blue and red flower accents.

techniques

  • ·portraiture
  • ·blending
  • ·glazing
  • ·color mixing
  • ·rendering fabric

common pitfalls

  • →Overworking the skin tones, resulting in a flat or lifeless appearance.
  • →Failing to capture the likeness of the subject.
  • →Ignoring the subtle variations in color and value.
  • →Getting lost in the details and losing sight of the overall composition.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·linseed oil
  • ·turpentine
  • ·palette
  • ·assorted brushes
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.

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