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home·artworks·Interior of a stable, foreshortened horse and figures - Sun reflections
Interior of a stable, foreshortened horse and figures - Sun reflections by Filippo Palizzi

plate no. 1795

Interior of a stable, foreshortened horse and figures - Sun reflections

Filippo Palizzi, 1854

oil, canvasRealisminteriorstablefigureshayhorseinteriorladder
some experience helpful

Recreating this painting will help students develop skills in rendering light and shadow within an enclosed space, and practice creating texture using visible brushstrokes. It also provides practice in depicting figures and animals in a realistic manner.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, paying attention to the placement of the figures, horse, and hay pile.

  2. step 02

    Establish the dark areas of the stable with a thin wash of burnt umber.

  3. step 03

    Block in the main colors of the hay, figures, and horse, using a limited palette.

  4. step 04

    Begin layering lighter tones on the hay to create the effect of sunlight.

  5. step 05

    Refine the details of the figures and horse, paying attention to their form and anatomy.

  6. step 06

    Add highlights to the areas where light is strongest, such as the hay and the figures' clothing.

  7. step 07

    Use dry brush techniques to create texture in the hay and the wooden structures.

  8. step 08

    Add final details and adjust values as needed to create a sense of depth and atmosphere.

color palette

primary · burnt umber · yellow ochre · titanium white

secondary · raw sienna · ivory black

Achieve the warm, golden tones of the hay by mixing yellow ochre with burnt umber and titanium white. Use ivory black sparingly to create shadows and darker areas.

techniques

  • ·dry brush
  • ·scumbling
  • ·glazing
  • ·chiaroscuro
  • ·layering

common pitfalls

  • →Overworking the details too early
  • →Failing to establish a strong value structure
  • →Using too much color and losing the overall tonal harmony
  • →Ignoring the importance of reflected light

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·round brushes (various sizes)
  • ·flat brushes (various sizes)
  • ·linseed oil
  • ·palette

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a canvas with a medium texture to allow for better brushwork. Consider using a toned canvas to help establish the overall color harmony.

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