apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Old Woman with a Splint Basket
Old Woman with a Splint Basket by Albert Edelfelt

plate no. 2911

Old Woman with a Splint Basket

Albert Edelfelt, 1882

oil, canvasRealismportraitportraitwomanbasketlandscapefieldbuilding
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering skin tones. It also provides practice in depicting textures, such as the woven basket and the fabric of the clothing.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure, basket, and background elements.

  2. step 02

    Establish the main value ranges with a thin wash of color, paying attention to the light and shadow patterns.

  3. step 03

    Begin blocking in the skin tones, mixing a range of colors to capture the subtle variations in light and shadow.

  4. step 04

    Develop the details of the face, focusing on the eyes, nose, and mouth to capture the likeness of the subject.

  5. step 05

    Paint the basket, paying attention to the woven texture and the way light interacts with the surface.

  6. step 06

    Refine the clothing, adding details such as folds and wrinkles to create a sense of volume.

  7. step 07

    Develop the background, adding details such as the trees, building, and field to create a sense of depth.

  8. step 08

    Add final highlights and shadows to enhance the overall sense of realism.

color palette

primary · titanium white · yellow ochre · burnt umber · raw sienna

secondary · ultramarine blue · cadmium red light · ivory black

Mix skin tones by blending yellow ochre, burnt umber, and titanium white, adding small amounts of cadmium red for warmth and ultramarine blue for cool shadows. Create the greens in the background by mixing yellow ochre, ultramarine blue, and a touch of burnt umber.

techniques

  • ·portrait painting
  • ·alla prima
  • ·color mixing
  • ·blending
  • ·rendering textures

common pitfalls

  • →Overblending skin tones, resulting in a flat or lifeless appearance.
  • →Failing to capture the likeness of the subject.
  • →Ignoring the subtle variations in color and value.
  • →Getting lost in the details before establishing the overall composition.
  • →Not paying attention to the light source and its effect on the scene.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·#2 round brush
  • ·#6 flat brush
  • ·linseed oil
  • ·odorless mineral spirits

optional

  • ·medium gloss
  • ·easel
  • ·painting rags
  • ·mahl stick

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

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →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