apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Jeanne d’Arc, incendie de Reims
Jeanne d’Arc, incendie de Reims by Louise Abbéma

plate no. 9832

Jeanne d’Arc, incendie de Reims

Louise Abbéma, 1914

postcardImpressionismportraitfigurearmorswordangelcastlesky
some experience helpful

Recreating this painting will help students develop skills in figure painting, particularly rendering armor and drapery, as well as atmospheric perspective for the background.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the proportions of the figure and placement of key elements.

  2. step 02

    Block in the main color areas: the sky, figure's clothing, armor, and background castle.

  3. step 03

    Begin refining the figure's features, paying attention to the light and shadow on the face and clothing.

  4. step 04

    Develop the texture of the armor using layering and dry brushing techniques.

  5. step 05

    Add details to the sword and shield, focusing on highlights and reflections.

  6. step 06

    Soften the edges of the background elements to create atmospheric perspective.

  7. step 07

    Refine the angel figure, using soft blending to create a ethereal effect.

  8. step 08

    Add final highlights and shadows to enhance the overall depth and realism.

color palette

primary · Prussian blue · Titanium white · Burnt umber

secondary · Yellow ochre · Cadmium red · Payne's gray

Mix blues and whites for the sky and clothing, adding umber for shadows. Use ochre and red for skin tones, and Payne's gray for the armor's metallic sheen.

techniques

  • ·Figure drawing
  • ·Layering
  • ·Dry brushing
  • ·Atmospheric perspective
  • ·Blending

common pitfalls

  • →Getting the figure's proportions wrong
  • →Overworking the details in the background
  • →Using too much contrast in the sky
  • →Failing to create a convincing metallic texture on the armor

materials

surface · Stretched canvas

required

  • ·Stretched canvas
  • ·Acrylic or oil paints
  • ·#2 round brush
  • ·#6 flat brush
  • ·#4 filbert brush
  • ·Palette
  • ·Linseed oil (if using oils)
  • ·Odorless mineral spirits (for cleanup)

optional

  • ·Palette knife
  • ·Medium gloss
  • ·Retarder medium

A toned canvas (e.g., with a thin wash of burnt umber) can be helpful for establishing values.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

color theory for painters →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

View of the Bosphorus and Rumeli Hisarı

View of the Bosphorus and Rumeli Hisarı

Sevket Dag

Paysage du Midi

Paysage du Midi

Armand Guillaumin

Self-Portrait

Self-Portrait

Frederic Bazille

Tip of the Bay

Tip of the Bay

Max Kurzweil

Long Stemmed Lovelies

Long Stemmed Lovelies

Pino Daeni

At Rosetta, Lower Egypt

At Rosetta, Lower Egypt

John Varley II

House from Oltenia

House from Oltenia

Theodor Pallady

Jewish quarter in Amsterdam

Jewish quarter in Amsterdam

Max Liebermann