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home·artworks·Narcissus reflecting in the water
Narcissus reflecting in the water by Pierre-Henri de Valenciennes

plate no. 3447

Narcissus reflecting in the water

Pierre-Henri de Valenciennes, 1793

oil, canvasClassicismmythological paintingtreeswaterfiguredoglandscapefoliage
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective, color mixing for natural light, and rendering complex foliage. It also provides practice in depicting figures and animals within a landscape setting.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure, dog, trees, and distant mountains.

  2. step 02

    Establish the sky and distant landscape with thin washes of color, creating atmospheric perspective.

  3. step 03

    Block in the main shapes of the trees and foliage with darker greens and browns.

  4. step 04

    Begin to define the figure and dog with basic shapes and values.

  5. step 05

    Add details to the trees and foliage, using layering and dry brushing to create texture.

  6. step 06

    Refine the figure and dog, paying attention to anatomy and light.

  7. step 07

    Paint the water and reflections, using horizontal brushstrokes and subtle color variations.

  8. step 08

    Add final highlights and details to bring the painting to life.

color palette

primary · burnt umber · sap green · titanium white · yellow ochre

secondary · ultramarine blue · cadmium yellow · raw sienna

Achieve the various greens by mixing sap green with yellow ochre and burnt umber. Use ultramarine blue and white to create the hazy distant mountains. Mix white with small amounts of yellow ochre and burnt umber for the figure's skin tones.

techniques

  • ·atmospheric perspective
  • ·layering
  • ·dry brushing
  • ·color mixing
  • ·rendering foliage

common pitfalls

  • →Overworking the details too early.
  • →Failing to establish a strong value structure.
  • →Not creating enough depth through atmospheric perspective.
  • →Making the greens too uniform and unnatural.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·sap green oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·#4 round brush
  • ·#6 flat brush
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a medium-grain canvas for best results. Consider using a toned canvas to help establish the initial values.

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