apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Grandma's lesson
Grandma's lesson by Silvestro Lega

plate no. 7105

Grandma's lesson

Silvestro Lega, 1881

oil, canvasRealismgenre paintingfiguresinteriorgrandmotherchildbooktable
some experience helpful

Recreating this painting will help students develop skills in rendering figures, capturing subtle lighting variations, and creating a sense of depth through layering and atmospheric perspective. It also offers practice in painting textures like fabric and wallpaper.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figures and the table.

  2. step 02

    Block in the main shapes with thin washes of color, establishing the overall value structure.

  3. step 03

    Develop the background, starting with the wallpaper pattern and then adding details to the baskets and books.

  4. step 04

    Refine the figures, paying attention to the light and shadow on their faces and clothing.

  5. step 05

    Add details to the table cloth, capturing the folds and patterns.

  6. step 06

    Paint the floor and the toys underneath the table, using darker values to create depth.

  7. step 07

    Refine the details and add highlights to create a sense of realism.

  8. step 08

    Make final adjustments to the colors and values to achieve a harmonious composition.

color palette

primary · ivory black · burnt umber · raw sienna · titanium white

secondary · alizarin crimson · yellow ochre · Prussian blue

Achieve the subtle skin tones by mixing white, raw sienna, and a touch of alizarin crimson. Use ivory black and burnt umber for the dark areas, and add white to create lighter shades. Mix alizarin crimson and burnt umber for the red tablecloth.

techniques

  • ·underpainting
  • ·glazing
  • ·scumbling
  • ·blending
  • ·layering

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated.
  • →Ignoring the subtle variations in light and shadow.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints (ivory black, burnt umber, raw sienna, titanium white, alizarin crimson, yellow ochre, Prussian blue)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·retouch varnish
  • ·medium gloss
  • ·easel

Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.

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 James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy