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home·artworks·I did but see her passing by, And yet I love her till I die
I did but see her passing by, And yet I love her till I die by Eleanor Fortescue-Brickdale

plate no. 9180

I did but see her passing by, And yet I love her till I die

Eleanor Fortescue-Brickdale, 1920

oilRomanticismillustrationfiguresarchitecturestreet scenebuildingscobblestonebrickwork
some experience helpful

Recreating this painting will help students develop skills in rendering figures in period clothing and creating a sense of depth through atmospheric perspective. It also provides practice in depicting textures like brick and cobblestone.

technical profile

palette complexity
3
brushwork visibility
3
value contrast
3
compositional simplicity
2

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main composition, focusing on the placement of figures and buildings.

  2. step 02

    Establish the basic color blocks for the sky, buildings, and ground using thin washes.

  3. step 03

    Begin building up the details of the figures, paying attention to the folds and shadows in their clothing.

  4. step 04

    Add details to the buildings, including the timber framing and roof tiles.

  5. step 05

    Render the cobblestone street, varying the colors and values of the stones to create a sense of texture.

  6. step 06

    Add the brickwork in the foreground, paying attention to the perspective and the texture of the bricks.

  7. step 07

    Refine the details of the figures' faces and hands.

  8. step 08

    Add final highlights and shadows to create depth and dimension.

color palette

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

secondary · purple · yellow ochre · payne's gray · cadmium red light

Mix muted tones by combining complementary colors. Achieve the aged brick color by mixing burnt sienna, raw umber, and a touch of black and red. Use white to create lighter values and atmospheric haze.

techniques

  • ·glazing
  • ·dry brushing
  • ·atmospheric perspective
  • ·rendering fabric
  • ·scumbling

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too bright or saturated.
  • →Ignoring the effects of atmospheric perspective.

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brush (size 8)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·odorless mineral spirits

Use a medium-tooth canvas to allow for good paint adhesion and texture. Consider using a toned canvas to help establish the overall color palette.

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