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home·artworks·Jeune figue posant pour Leonard de Vinci
Jeune figue posant pour Leonard de Vinci by Felix Labisse

plate no. 5250

Jeune figue posant pour Leonard de Vinci

Felix Labisse, 1946

oilSurrealismsymbolic paintingfiguredraperywindowseaskysurreal
experienced study

Recreating this painting will help students develop skills in rendering smooth skin tones and creating a surreal, dreamlike atmosphere through color and composition. It also provides practice in depicting drapery and atmospheric perspective.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Block in the large areas of color: the background drapery, the skin tones, the sea and sky.

  3. step 03

    Begin layering and blending the skin tones, paying close attention to subtle shifts in value and color.

  4. step 04

    Add details to the figure, such as the facial features (or lack thereof) and the textures within the 'head'.

  5. step 05

    Refine the drapery, adding folds and shadows to create depth.

  6. step 06

    Paint the window and the surreal object in the sky, focusing on atmospheric perspective.

  7. step 07

    Add final highlights and shadows to enhance the overall realism and surreal effect.

  8. step 08

    Glaze with thin layers to unify the colors and create a cohesive look.

color palette

primary · titanium white · cadmium red · viridian green · ultramarine blue

secondary · yellow ochre · burnt umber

Achieve skin tones by mixing white with small amounts of red, yellow ochre, and burnt umber. Create the green head by mixing viridian green with white and a touch of yellow. The red drapery is a mix of cadmium red with a touch of burnt umber for shadows.

techniques

  • ·glazing
  • ·blending
  • ·scumbling
  • ·atmospheric perspective
  • ·color mixing

common pitfalls

  • →Overworking the skin tones, resulting in a muddy appearance.
  • →Failing to create a smooth transition between colors.
  • →Ignoring the subtle shifts in value that define the form.
  • →Getting lost in details before establishing the overall composition.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·cadmium red oil paint
  • ·viridian green oil paint
  • ·ultramarine blue oil paint
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·assorted brushes (round and flat)

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·retouch varnish

Use high-quality oil paints for best results. A medium-sized canvas (e.g., 16x20 inches) is recommended.

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