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Lilacs by Marie Bashkirtseff

plate no. 7121

Lilacs

Marie Bashkirtseff, 1880

oilRealismportraitportraitfigurelilacsflowersclothinghand
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing subtle skin tones and creating depth with layering. It also offers practice in rendering floral details and creating a moody atmosphere.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Establish the background with broad, loose strokes of dark browns and ochres.

  3. step 03

    Block in the main shapes of the figure, paying attention to the values of the clothing and skin.

  4. step 04

    Begin layering the skin tones, using subtle variations of color to create form and depth.

  5. step 05

    Add details to the face, focusing on the eyes, nose, and mouth.

  6. step 06

    Paint the lilacs, using a variety of purples and greens to capture their texture and color.

  7. step 07

    Refine the details of the clothing and background, adding highlights and shadows to create depth.

  8. step 08

    Add final touches and glazes to unify the painting and enhance the overall mood.

color palette

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

secondary · ultramarine blue · alizarin crimson · cadmium yellow

Achieve skin tones by mixing raw sienna, burnt umber, and titanium white, with small touches of alizarin crimson and ultramarine blue for shadows. Create the lilac colors by mixing ultramarine blue, alizarin crimson, and white, adjusting the proportions to achieve different shades of purple.

techniques

  • ·underpainting
  • ·layering
  • ·glazing
  • ·scumbling
  • ·chiaroscuro

common pitfalls

  • →Overworking the details too early in the process.
  • →Creating muddy colors by overmixing.
  • →Failing to establish a strong value structure.
  • →Ignoring the subtle variations in skin tone.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)
  • ·linseed oil

optional

  • ·palette knife
  • ·turpentine
  • ·retouch varnish

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

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