apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Nun with donkey
Nun with donkey by Giovanni Fattori

plate no. 4786

Nun with donkey

Giovanni Fattori, 1890

woodRealismgenre paintingdonkeynunbarrelsbuildingfigureshadows
some experience helpful

Recreating this painting will help students develop skills in capturing light and shadow with a limited palette and creating texture with visible brushstrokes. It also provides practice in simplifying complex forms into basic shapes.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes: the donkey, the nun, the barrels, and the building.

  2. step 02

    Block in the large areas of color, starting with the darkest tones.

  3. step 03

    Gradually build up the mid-tones and highlights, paying attention to the direction of light.

  4. step 04

    Add details to the figures and the donkey, focusing on capturing their form and posture.

  5. step 05

    Create texture in the building and ground using short, broken brushstrokes.

  6. step 06

    Refine the edges and shapes, softening or hardening them as needed.

  7. step 07

    Add final highlights and shadows to create depth and dimension.

  8. step 08

    Step back and assess the overall composition, making any necessary adjustments.

color palette

primary · burnt umber · raw sienna · titanium white

secondary · ivory black · yellow ochre

Mix burnt umber and white for the lighter tones of the figures and building. Use raw sienna and a touch of yellow ochre for the barrels. Add small amounts of black to darken the shadows.

techniques

  • ·dry brush texture
  • ·scumbling
  • ·limited palette
  • ·alla prima
  • ·broken color

common pitfalls

  • →Overworking the painting and losing the freshness of the brushstrokes.
  • →Getting bogged down in details too early.
  • →Failing to establish a clear value structure.
  • →Ignoring the direction of light and shadow.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·#4 round brush
  • ·#8 flat brush
  • ·palette
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·odorless mineral spirits

Use a canvas with a slightly textured surface to enhance the effect of the dry brush technique.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Portrait of James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy