plate no. 4677
Girl in Front of a Mirror
Isaac Israels, 1922
some experience helpful
Recreating this painting will help students develop skills in capturing reflections and creating soft, impressionistic effects with visible brushstrokes. It also encourages observation of subtle color variations within a limited palette.
technical profile
palette complexity
3
brushwork visibility
4
value contrast
3
compositional simplicity
3
study guide
est. 8 hrsapproach — 8 steps
- step 01
Lightly sketch the basic shapes and proportions of the figure and the mirror.
- step 02
Establish the background tones with broad, loose strokes.
- step 03
Block in the main colors of the figure, focusing on the dress and blouse.
- step 04
Start building up the details of the face and hat, paying attention to the light and shadow.
- step 05
Work on the reflection in the mirror, simplifying the details and softening the edges.
- step 06
Add highlights and shadows to create depth and dimension.
- step 07
Refine the brushwork and add any final details.
- step 08
Adjust the overall values and colors to achieve a harmonious composition.
color palette
primary · ivory black · titanium white · raw umber
secondary · viridian · cadmium red light · ultramarine blue
Mix various shades of gray by combining ivory black and titanium white. Add small amounts of raw umber for warmth, or ultramarine blue and viridian for cool tones. Use cadmium red light sparingly for the lips and subtle skin tones.
techniques
- ·Broken color
- ·Scumbling
- ·Impasto
- ·Limited palette
- ·Tonal painting
common pitfalls
- →Overworking the details and losing the impressionistic feel.
- →Creating too much contrast and making the painting look harsh.
- →Failing to capture the subtle color variations in the shadows.
- →Ignoring the effect of the mirror on the colors and values of the reflection.
materials
surface · stretched canvas
required
- ·Stretched canvas (12x16 inches)
- ·Oil paints (ivory black, titanium white, raw umber, viridian, cadmium red light, ultramarine blue)
- ·Round brushes (#2, #4, #6)
- ·Palette
- ·Palette knife
- ·Odorless mineral spirits
- ·Linseed oil
- ·Soft cloths
optional
- ·Medium (e.g., Liquin)
- ·Easel
- ·Apron
A toned canvas (e.g., with a thin wash of raw umber) can be helpful for establishing the initial values.
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