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home·artworks·Madame Sisley on the banks of the Loing at Moret
Madame Sisley on the banks of the Loing at Moret by John Peter Russell

plate no. 7169

Madame Sisley on the banks of the Loing at Moret

John Peter Russell, 1887

oil, canvasImpressionismlandscapelandscapetreesfigureriverbankfoliagesky
some experience helpful

This painting offers practice in capturing light and shadow using broken color and loose brushwork, as well as simplifying complex forms into basic shapes.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure, trees, and horizon line.

  2. step 02

    Block in the large areas of color, such as the sky, ground, and background hills, using thin washes.

  3. step 03

    Add the main tree trunks and branches, using varying shades of brown and gray.

  4. step 04

    Begin layering the foliage with greens, yellows, and browns, using short, broken brushstrokes.

  5. step 05

    Define the figure with loose strokes, capturing the light and shadow on the clothing.

  6. step 06

    Add details to the background, such as the suggestion of buildings or other landscape features.

  7. step 07

    Refine the foreground with more detailed brushwork, adding texture and depth.

  8. step 08

    Add final highlights and shadows to create a sense of atmosphere and light.

color palette

primary · viridian green · yellow ochre · raw umber · cerulean blue

secondary · burnt sienna · titanium white · ivory black

Mix greens by combining yellow ochre and viridian green. Achieve earth tones by mixing raw umber with burnt sienna and white. Use white to lighten colors and create highlights.

techniques

  • ·broken color
  • ·alla prima
  • ·scumbling
  • ·dry brush
  • ·layering

common pitfalls

  • →Overworking the painting and losing the freshness of the brushstrokes.
  • →Using colors straight from the tube without mixing them.
  • →Failing to establish a clear focal point.
  • →Neglecting the importance of value contrast.

materials

surface · stretched canvas

required

  • ·stretched canvas 12x16
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

  • ·painting medium
  • ·easel
  • ·varnish

Use a medium-tooth canvas for better texture. Consider using a limited palette to simplify color mixing.

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related guides

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