plate no. 4339

Girl in the Sunlight (Portrait of M. Simonovich)

oilImpressionismportraitfigureportraittreefoliageforestclothing

some experience helpful

Recreating this painting will help students develop skills in portraiture, capturing light and shadow on skin tones, and creating depth through layering and brushwork. It also provides practice in rendering textures like fabric and tree bark.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 15 hrs

approach — 8 steps

step 01
Sketch the basic composition, focusing on the placement of the figure, tree, and background elements.
step 02
Establish the main light and shadow areas using a thin wash of burnt umber or a similar earth tone.
step 03
Block in the main colors of the background, starting with the darkest areas of the trees and gradually working towards the lighter areas of the foliage and grass.
step 04
Begin painting the figure, focusing on the skin tones and the subtle variations in color and value.
step 05
Add details to the clothing, paying attention to the folds and wrinkles in the fabric.
step 06
Refine the details of the face, focusing on the eyes, nose, and mouth.
step 07
Add the final details to the tree bark and foliage, using short, broken brushstrokes to create texture.
step 08
Adjust the overall composition and values as needed to create a cohesive and balanced painting.

color palette

primary · titanium white · yellow ochre · burnt umber · ultramarine blue

secondary · cadmium red · viridian green · raw sienna

Mix skin tones using titanium white, yellow ochre, cadmium red, and a touch of burnt umber and ultramarine blue. Achieve the greens by mixing yellow ochre, ultramarine blue and viridian green. Use burnt umber and ultramarine blue for dark shadows.

techniques

·broken color
·scumbling
·alla prima
·portraiture
·chiaroscuro

common pitfalls

→Overblending skin tones, resulting in a flat and lifeless appearance.
→Ignoring the subtle variations in color and value, leading to a monotonous painting.
→Getting lost in the details too early, before establishing the overall composition and values.
→Using too much paint, resulting in a muddy and overworked painting.