apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Portrait of Lucha Maria, A Girl from Tehuacan
Portrait of Lucha Maria, A Girl from Tehuacan by Frida Kahlo

plate no. 4652

Portrait of Lucha Maria, A Girl from Tehuacan

Frida Kahlo, 1942

oil, masoniteNaïve Art (Primitivism)portraitportraitgirllandscapepyramidssunmoon
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly rendering skin tones and facial features, as well as practicing atmospheric perspective in the landscape. The geometric patterns on the jacket offer a good exercise in controlled brushwork and pattern replication.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition: the figure, pyramids, sun, and moon.

  2. step 02

    Block in the large areas of color: sky, ground, and the figure's clothing.

  3. step 03

    Begin refining the sky with layers of blues, grays, and whites to create cloud formations.

  4. step 04

    Develop the ground with varying shades of brown and yellow, adding subtle texture.

  5. step 05

    Paint the pyramids in the background, paying attention to their perspective and value.

  6. step 06

    Focus on the figure, starting with the skin tones and then moving to the clothing.

  7. step 07

    Carefully render the geometric patterns on the jacket, using a small brush for precision.

  8. step 08

    Add final details and highlights to the figure, landscape, and celestial bodies.

color palette

primary · ultramarine blue · yellow ochre · burnt umber · titanium white

secondary · cadmium yellow · raw sienna · ivory black

Achieve the skin tones by mixing yellow ochre, burnt umber, and white. The sky requires careful blending of blues, whites, and grays. The ground is a mix of yellow ochre, raw sienna, and burnt umber.

techniques

  • ·dry brushing
  • ·layering
  • ·blending
  • ·geometric pattern rendering
  • ·atmospheric perspective

common pitfalls

  • →Overworking the skin tones, resulting in a muddy appearance.
  • →Failing to accurately represent the geometric patterns on the jacket.
  • →Ignoring the subtle value changes in the landscape, leading to a flat appearance.
  • →Not achieving a smooth transition between the sky colors.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)
  • ·palette
  • ·linseed oil
  • ·turpentine
  • ·palette knife

optional

  • ·medium gloss
  • ·easel
  • ·rags

Use good quality oil paints for richer colors and better blending. A medium-sized canvas (e.g., 16x20 inches) is recommended.

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

Shepherd and his Lover

Shepherd and his Lover

Bertalan Por

The sketch to the movie "Colour of Pomegranate". "Muse"

The sketch to the movie "Colour of Pomegranate". "Muse"

Sergei Parajanov

Surprised!

Surprised!

Henri Rousseau

Holy Mountain I

Holy Mountain I

Horace Pippin

Gibraltar

Gibraltar

Alfred Wallis

Willage. Horse Taming

Willage. Horse Taming

Victor Palmov

Old Corn Mill, Keighley

Old Corn Mill, Keighley

John Bradley

Winter Still Life with Candle

Winter Still Life with Candle

Mary Fedden