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home·artworks·Le Petit Déjeuner
Le Petit Déjeuner by Sarah Purser

plate no. 4042

Le Petit Déjeuner

Sarah Purser, 1881

oilNaturalismportraitportraitfigureinteriortablebreakfastclothing
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing subtle skin tones and rendering fabric textures. It also provides practice in creating a sense of depth and atmosphere through tonal variations.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes and proportions of the figure, table, and background elements.

  2. step 02

    Establish the overall value structure by blocking in the darks and lights with thin washes of color.

  3. step 03

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

  4. step 04

    Develop the details of the clothing, focusing on capturing the texture and folds of the fabric.

  5. step 05

    Work on the background elements, creating a sense of depth and atmosphere.

  6. step 06

    Add details to the breakfast items, such as the cup and croissant.

  7. step 07

    Refine the edges and details throughout the painting, ensuring a cohesive and harmonious composition.

  8. step 08

    Add final highlights and shadows to enhance the sense of realism.

color palette

primary · burnt umber · raw sienna · titanium white · ivory black

secondary · alizarin crimson · yellow ochre · ultramarine blue

Achieve skin tones by mixing burnt umber, raw sienna, titanium white, and small amounts of alizarin crimson and yellow ochre. Use ivory black and ultramarine blue to create the darker areas and shadows.

techniques

  • ·portraiture
  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·alla prima

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 shifts in color and value.

materials

surface · stretched canvas

required

  • ·stretched canvas (16x20 inches)
  • ·oil paints (burnt umber, raw sienna, titanium white, ivory black, alizarin crimson, yellow ochre, ultramarine blue)
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish

Use a medium-grit canvas for best results. Consider using a limited palette to simplify the color mixing process.

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