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home·artworks·On the Balcony
On the Balcony by Alexandre Jacovleff

plate no. 4300

On the Balcony

Alexandre Jacovleff, 1936

oilExpressionismgenre paintingfiguresbalconybuildingwindowwatermelonrailing
some experience helpful

Recreating this painting will help students practice painting figures in a relaxed pose and capturing the subtle color variations in skin tones. It will also provide experience in rendering architectural details with loose brushstrokes.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes and composition, focusing on the placement of the figures and the balcony structure.

  2. step 02

    Block in the large areas of color, starting with the background wall and the sky visible through the window.

  3. step 03

    Establish the basic skin tones and clothing colors for the figures, paying attention to the light and shadow.

  4. step 04

    Paint the railing, using a mix of blues and browns to create the metallic effect.

  5. step 05

    Add details to the faces and clothing, refining the shapes and adding highlights and shadows.

  6. step 06

    Paint the watermelon and the small details like the flowers on the balcony.

  7. step 07

    Refine the overall composition and add any final touches to enhance the painting's mood and atmosphere.

  8. step 08

    Allow to dry and varnish.

color palette

primary · titanium white · burnt umber · ultramarine blue · cadmium red

secondary · yellow ochre · viridian

Mix white with small amounts of umber and ochre for the walls. Use ultramarine and white for the sky. Create skin tones by mixing red, yellow ochre, umber, and white. Adjust the proportions to achieve different skin tones.

techniques

  • ·blocking in
  • ·scumbling
  • ·broken color
  • ·color mixing
  • ·layering

common pitfalls

  • →Overworking the details and losing the loose, expressive quality of the brushstrokes.
  • →Failing to capture the subtle color variations in the skin tones.
  • →Making the railing too uniform and lacking depth.
  • →Not establishing a clear light source and creating inconsistent shadows.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·acrylic gesso
  • ·selection of round and flat brushes
  • ·titanium white oil paint
  • ·burnt umber oil paint
  • ·ultramarine blue oil paint
  • ·cadmium red oil paint
  • ·palette

optional

  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits

Use a medium-sized canvas to allow for sufficient detail. Consider using a toned canvas to speed up the painting process.

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