apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Lady at the Dressmaker
Lady at the Dressmaker by Pietro Longhi

plate no. 4390

Lady at the Dressmaker

Pietro Longhi

oil, canvasRococogenre paintingfiguresinteriordressroommirrorclothing
some experience helpful

Recreating this painting will help students develop skills in rendering figures in a realistic style and understanding how to create depth through subtle value changes and atmospheric perspective.

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

    Begin with a light sketch outlining the main figures and objects, paying attention to proportions and placement.

  2. step 02

    Establish the background color with a thin wash of burnt umber and raw sienna, varying the tones slightly.

  3. step 03

    Block in the main colors of the figures' clothing and skin tones, focusing on capturing the overall color harmony.

  4. step 04

    Start building up the forms with layers of paint, gradually adding highlights and shadows to create depth.

  5. step 05

    Pay close attention to the folds and drapery of the clothing, using subtle value changes to define the forms.

  6. step 06

    Refine the details of the faces and hands, focusing on capturing the expressions and gestures of the figures.

  7. step 07

    Add the details of the room, such as the mirror and table, using a similar layering technique.

  8. step 08

    Make final adjustments to the colors and values to create a cohesive and harmonious composition.

color palette

primary · burnt umber · raw sienna · titanium white · ultramarine blue

secondary · cadmium red · yellow ochre · ivory black

Achieve the muted tones by mixing earth tones with white and small amounts of other colors. Use ultramarine blue and burnt umber for the darker shades. Mix red and white with a touch of yellow ochre for the pinks.

techniques

  • ·underpainting
  • ·glazing
  • ·scumbling
  • ·blending
  • ·atmospheric perspective

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated.
  • →Ignoring the subtle nuances of light and shadow.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·linseed oil
  • ·turpentine
  • ·palette
  • ·assorted brushes (round and flat)
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use a medium-grain canvas for best results. Consider using a toned canvas to speed up the underpainting process.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Louis XV, King of France

Louis XV, King of France

Charles-Andre van Loo (Carle van Loo)

William James

William James

Joshua Reynolds

Wooded Landscape with Gypsies, Evening

Wooded Landscape with Gypsies, Evening

George Lambert

Head of a Scholar

Head of a Scholar

Giovanni Domenico Tiepolo

Gentleman and Wife

Gentleman and Wife

William Williams

Portrait of Antoine Watteau

Portrait of Antoine Watteau

Rosalba Carriera

Portrait of Henriette of France, daughter of Louis XV

Portrait of Henriette of France, daughter of Louis XV

Jean-Étienne Liotard

Mr. John Williams

Mr. John Williams

Benjamin West