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home·artworks·In The Louvre
In The Louvre by James Tissot

plate no. 3384

In The Louvre

James Tissot, 1885

oil, canvasRealismgenre paintingfiguresarchitecturemuseumstatuesurninterior
experienced study

Recreating this painting will help students develop skills in rendering complex textures and patterns, as well as understanding atmospheric perspective and creating depth in an interior scene. It also provides practice in capturing the nuances of light and shadow on various surfaces.

technical profile

palette complexity
4
brushwork visibility
3
value contrast
3
compositional simplicity
2

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Create a rough sketch to establish the composition and proportions of the main elements (figures, urn, architecture).

  2. step 02

    Block in the main color areas using thin washes, focusing on the overall value structure.

  3. step 03

    Start building up the details of the architecture in the background, paying attention to the perspective and light.

  4. step 04

    Work on the figures, gradually adding details to their clothing and facial features.

  5. step 05

    Focus on the urn and its intricate carvings, using layers of paint to create depth and texture.

  6. step 06

    Refine the lighting and shadows throughout the painting, adding highlights and deepening the dark areas.

  7. step 07

    Add final details and adjustments to create a sense of realism and atmosphere.

  8. step 08

    Glaze the painting to unify the colors and add depth.

color palette

primary · burnt umber · yellow ochre · titanium white

secondary · ivory black · cadmium yellow · alizarin crimson

Achieve the warm, muted tones by mixing burnt umber with yellow ochre and titanium white. Use ivory black sparingly to create shadows and depth. Mix alizarin crimson with burnt umber for the darker reds.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·atmospheric perspective
  • ·rendering fabric

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Inaccurate perspective in the architectural elements.
  • →Getting the skin tones wrong

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·burnt umber oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)
  • ·linseed oil

optional

  • ·palette knife
  • ·damar varnish
  • ·medium

Use high-quality oil paints for best results. A medium-textured canvas will provide a good surface for building up layers of paint.

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