Girl in a Fur, Mademoiselle Jeanne Fontaine

A woman in three-quarter profile sits facing left, wearing a brilliant red jacket with a large tan fur stole draped across her shoulders. Her hair is swept up in a dark updo with a red ribbon accent. Warm light from the left front illuminates the profile, the fur collar, and the fabric folds, creating a luminous quality against the warm ochre background. The eye travels first to the saturated red jacket—the brightest color and largest shape—then up to the face and hair, which serve as a cool counterpoint in darker values. Loose vertical green strokes in the background on the right create visual rhythm and suggest an interior space.

The value range is moderate but well-organized: the face and fur collar are the lightest lights, the dark hair and jacket shadows are the darkest darks, and the red jacket dominates as a strong mid-dark value that anchors the composition. When you squint, three distinct zones emerge—the warm background, the bright red fabric mass, and the figure's cooler upper portion (head and fur). The background reads as a unified warm tone despite the green accents, while the red creates powerful local contrast that holds the eye.

• #a5322e

  Alizarin crimson + burnt sienna for depth; add white to lighten for jacket shadows

  Dominant red jacket, shadow areas within the red fabric

• #c4a354

  Yellow ochre + cadmium yellow + white, with burnt sienna for warm depth

  Fur stole highlights and mid-tones, creating soft luminosity

• #b68947

  Raw sienna + cadmium yellow + white with touches of cadmium red

  Fur shadows and mid-tones, blending between light and dark areas

• #5b2925

  Burnt sienna + ultramarine + alizarin for depth

  Hair, dark outlines, deepest shadows in the fur

• #ae773e

  Yellow ochre + burnt sienna + white

  Background left side, warm atmospheric tone throughout

• #a06136

  Cadmium yellow + burnt sienna + ultramarine for brownish tone

  Mid-tone transitions in hair and shadow areas

The background features loose, confident vertical strokes in ochre and green that create texture without distraction. The fur is rendered with directional, feathery brushwork that follows its natural flow and volume—not blended smooth, but layered with visible strokes that suggest depth. The profile and hair have decisive outlines and sharper edges where they meet the background, while the jacket folds and fur transitions use softer edges and more blending. The overall approach is painterly and assured—brushstrokes are visible and purposeful rather than fussy.

1. 01

   Composition and structure

   Lightly sketch the profile outline, the position of the head, neck, and shoulders. Mark where the fur collar sits—it should extend well back across the shoulders. Note that the figure is roughly centered with a slight lean. Establish the horizon line and background proportions.

2. 02

   Background foundation

   Block in the entire background with loose strokes: warm ochre-yellow on the left side, and green vertical strokes on the right. Keep it loose and textured; this sets the warm, intimate atmosphere. Work confidently without overblending.

3. 03

   Red jacket and fabric

   Lay down the bright red of the jacket as a unified shape. Use a medium red (alizarin + white, not pure tube red). Block in the darker reds in shadow areas where the jacket folds. Define the edge where the red meets the background.

4. 04

   Fur collar and stole

   Paint the fur with warmer tones (yellow ochre, raw sienna, white). Use directional strokes to suggest the fur's texture and direction—it should look soft and have volume, not flat. Layer darker browns into the shadows within the fur without losing the light quality.

5. 05

   Hair and head structure

   Underpaint the hair with burnt sienna and ultramarine, establishing the dark mass and the updo shape. Add warmer notes (burnt sienna + cadmium yellow) where the light catches the crown. Observe how the hair has both red and brown undertones.

6. 06

   Face and features

   Paint the face with a pale peachy tone (white + touch of red oxide + yellow ochre). Pay close attention to the profile line—the nose, lips, and chin define the character. Keep edges soft on the face; it should breathe into the background. Add minimal detail; suggestion works better than description.

7. 07

   Refinement and texture

   Add definition to the red ribbon in the hair and the fabric folds in the jacket. Strengthen the darkest lines (hair outline, jacket contour) with decisive strokes. Enhance the background texture with additional green strokes and warm ochre variations. Ensure the fur has convincing surface quality through layered, directional marks.

8. 08

   Final integration and edges

   Step back and assess value relationships. Soften any harsh edges, especially where the figure meets the background. Brighten highlights on the fur and face if needed. Check that the red reads as a cohesive mass with convincing folds and that the entire piece feels harmonious in its warm color cast.

• The red jacket will tempt you to use too-bright or saturated red straight from the tube. Resist—mix it with white and burnt sienna for a richer, more painterly tone that still glows.
• The fur collar can easily become a shapeless, overblended lump. Use deliberate directional strokes and keep some variation in value and color; the fur should suggest texture and form through brushwork, not smoothness.
• The profile angle is critical and unforgiving—if the nose, chin, or overall head angle is slightly off, the likeness and spatial reading collapse. Spend time on the underdrawing.
• Overworking the background can kill the sense of loose, confident painting that makes this work sing. Establish it early and mostly leave it alone.
• The warm color harmony can shift toward muddy if you overblend or if your yellows and ochres are too muted. Mix clean, slightly bright mixtures and layer them; let some brushstrokes show.

beginner friendliness

value contrast

palette complexity

compositional simplicity

brushwork visibility