apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·First, a kiss!
First, a kiss! by Meyer von Bremen

plate no. 8148

First, a kiss!

Meyer von Bremen, 1879

oil, canvasAcademicismgenre paintingchildrenwater wellforestfigureslandscaperural scene
experienced study

Recreating this painting will help students develop skills in rendering realistic figures, capturing subtle light and shadow, and creating depth through atmospheric perspective. It also provides practice in depicting textures of various materials like wood, stone, and fabric.

technical profile

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

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch outlining the main shapes and composition, focusing on accurate proportions of the figures and placement of the well.

  2. step 02

    Establish the background by layering in the dark tones of the forest, gradually adding lighter values to create depth.

  3. step 03

    Block in the main colors of the figures' clothing and skin tones, paying attention to the light source and shadows.

  4. step 04

    Develop the details of the well, including the texture of the wood and the water flowing from the spout.

  5. step 05

    Refine the figures' features and clothing, adding highlights and shadows to create form.

  6. step 06

    Add details to the foreground, such as the rocks, broom, and vegetation, to create a sense of realism.

  7. step 07

    Glaze over the painting with thin layers of color to unify the composition and enhance the overall mood.

  8. step 08

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

color palette

primary · burnt umber · raw sienna · titanium white · cadmium red

secondary · ultramarine blue · yellow ochre · ivory black

Achieve skin tones by mixing burnt umber, raw sienna, and titanium white, with small amounts of cadmium red for warmth. Create the dark tones of the forest by mixing burnt umber, ivory black, and ultramarine blue.

techniques

  • ·layering
  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·atmospheric perspective

common pitfalls

  • →Getting the proportions of the figures wrong.
  • →Overworking the details too early in the process.
  • →Failing to create a sense of depth in the background.
  • →Not paying enough attention to the light source and shadows.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints (burnt umber, raw sienna, titanium white, cadmium red, ultramarine blue, yellow ochre, ivory black)
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use high-quality oil paints for best results. Allow each layer to dry completely before applying the next.

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 a Young Woman

Portrait of a Young Woman

George Demetrescu Mirea

My daughters, Eva and Jeanne

My daughters, Eva and Jeanne

Diogène Maillart

The Reluctant Bride

The Reluctant Bride

Auguste Toulmouche

The Proposal

The Proposal

Wladyslaw Czachorski

The Dressing Room

The Dressing Room

Henri-Pierre Picou

Girl with pinks

Girl with pinks

Wladyslaw Czachorski

Self-Portrait

Self-Portrait

George Demetrescu Mirea

The age

The age

Ludwig Knaus