apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Farm Interior, Skotta in Bærum
Farm Interior, Skotta in Bærum by Harriet Backer

plate no. 1764

Farm Interior, Skotta in Bærum

Harriet Backer, 1887

oil, canvasNaturalismgenre paintinginteriorfigurewindowfurnitureroombasket
some experience helpful

Recreating this painting will help students develop skills in depicting light and shadow within an interior space and creating a sense of depth using atmospheric perspective. It also provides practice in capturing the subtle nuances of a limited color palette.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes and composition, focusing on the placement of the figure, furniture, and windows.

  2. step 02

    Establish the overall value structure by blocking in the main areas of light and shadow with thin washes of color.

  3. step 03

    Begin refining the colors of the walls, floor, and furniture, paying attention to the subtle variations in tone.

  4. step 04

    Develop the figure, focusing on the folds of the clothing and the subtle details of the face and hands.

  5. step 05

    Paint the window and the view outside, using lighter and brighter colors to create a sense of depth.

  6. step 06

    Add details to the basket and other objects in the room, using small brushstrokes to create texture.

  7. step 07

    Refine the overall composition, adjusting the values and colors as needed to create a harmonious and balanced image.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

primary · raw umber · titanium white · burnt sienna

secondary · sap green · yellow ochre · ivory black

Achieve the muted tones by mixing the primary colors with white and small amounts of secondary colors. Use raw umber and white for the walls, adding touches of burnt sienna for warmth. Mix sap green with white and a touch of yellow ochre for the outdoor view.

techniques

  • ·underpainting
  • ·scumbling
  • ·glazing
  • ·dry brushing
  • ·atmospheric perspective

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated.
  • →Ignoring the subtle shifts in color temperature.

materials

surface · stretched canvas

required

  • ·stretched canvas (16x20 inches)
  • ·oil paints (raw umber, titanium white, burnt sienna, yellow ochre, sap green, ivory black)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·palette
  • ·assorted brushes (round and flat)
  • ·palette knife
  • ·rags

optional

  • ·medium (e.g., Liquin)
  • ·varnish

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 →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Nesebar

Nesebar

Felix Philipp Kanitz

View of the city of Nettuno at dawn with fishing boats

View of the city of Nettuno at dawn with fishing boats

Giovanni (Nino) Costa

Koriten Fortress

Koriten Fortress

Felix Philipp Kanitz

A London Jo - the End of the Day

A London Jo - the End of the Day

Augustus Edwin Mulready

Chestnut trees in the autumn in Antagnes, Switzerland

Chestnut trees in the autumn in Antagnes, Switzerland

Hubertine Heijermans

Avenue of Indian Rubber Trees at Peradeniya, Ceylon

Avenue of Indian Rubber Trees at Peradeniya, Ceylon

Marianne North

Paisaje Con Río

Paisaje Con Río

José Santiago Garnelo y Alda

An Oysterman

An Oysterman

William Henry Hunt