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home·artworks·Not being able to wait, or The letter
Not being able to wait, or The letter by Telemaco Signorini

plate no. 4919

Not being able to wait, or The letter

Telemaco Signorini, 1867

oilRealismgenre paintingfigureinteriorpaintingstableletterumbrella
experienced study

Recreating this painting helps develop skills in depicting realistic light and shadow on fabric and skin tones, as well as creating depth through layering and atmospheric perspective.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch outlining the main shapes: the figure, table, and background elements.

  2. step 02

    Establish the overall color scheme by blocking in the large areas of color with thin washes.

  3. step 03

    Focus on the figure, building up layers of color to define the form and create realistic skin tones.

  4. step 04

    Develop the details of the clothing, paying attention to the folds and highlights.

  5. step 05

    Work on the table and the objects on it, capturing the textures and colors accurately.

  6. step 06

    Paint the background paintings, simplifying the details and focusing on the overall impression.

  7. step 07

    Add the final details, such as the umbrella and the patterns on the rug.

  8. step 08

    Refine the values and colors to create a sense of depth and atmosphere.

color palette

primary · burnt umber · titanium white · yellow ochre

secondary · ultramarine blue · cadmium red · ivory black

Mix various shades of brown and gray by combining burnt umber, ultramarine blue, and titanium white. Use yellow ochre to create warm highlights and cadmium red for subtle reds in the skin tones and background.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·alla prima
  • ·broken color

common pitfalls

  • →Overworking the details in the background paintings.
  • →Failing to create a sense of depth and atmosphere.
  • →Getting the skin tones wrong and making them look unnatural.
  • →Ignoring the subtle variations in color and value.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·linseed oil
  • ·turpentine
  • ·palette
  • ·assorted brushes
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

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

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related guides

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