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home·artworks·Flower Stalls at La Madeleine
Flower Stalls at La Madeleine by Edouard Cortes

plate no. 7011

Flower Stalls at La Madeleine

Edouard Cortes

oil, canvasPost-Impressionismcityscapecityscapeflowersbuildingsfigurestreesmarket
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and capturing the essence of a bustling street scene with loose brushwork. It also provides practice in color mixing to achieve a harmonious and slightly muted palette.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of buildings, figures, and flower stalls.

  2. step 02

    Establish the overall color scheme by applying a thin wash of warm underpainting.

  3. step 03

    Block in the large shapes of the buildings and sky with simplified color values.

  4. step 04

    Add the main elements like the flower stalls and figures, paying attention to their relative sizes and positions.

  5. step 05

    Develop the details of the flowers, using small, expressive brushstrokes to capture their variety.

  6. step 06

    Refine the figures, adding subtle details to their clothing and features.

  7. step 07

    Create atmospheric perspective by softening the edges and lightening the values of distant objects.

  8. step 08

    Add final highlights and shadows to enhance the sense of depth and realism.

color palette

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

secondary · ultramarine blue · sap green · alizarin crimson

Achieve the muted tones by mixing complementary colors and using white to soften the intensity. Use yellow ochre and burnt umber as a base for many of the colors.

techniques

  • ·broken color
  • ·scumbling
  • ·atmospheric perspective
  • ·alla prima
  • ·dry brushing

common pitfalls

  • →Overworking the details, losing the freshness and spontaneity of the original.
  • →Failing to establish a clear sense of depth and perspective.
  • →Using colors that are too bright or saturated, disrupting the overall harmony.
  • →Neglecting the importance of edges and transitions between shapes.

materials

surface · stretched canvas

required

  • ·stretched canvas (12x16 or similar)
  • ·oil paints (yellow ochre, burnt umber, titanium white, cadmium red, ultramarine blue, sap green, alizarin crimson)
  • ·palette
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·assorted brushes (round and flat, sizes 2-8)
  • ·palette knife
  • ·rags

optional

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

A toned canvas (e.g., with a thin wash of burnt umber) can be helpful for establishing the warm undertones of the painting.

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related guides

oil painting for beginners →color theory for painters →how to learn by studying the masters →
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