apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Roses in a Glass
Roses in a Glass by Eva Gonzales

plate no. 1025

Roses in a Glass

Eva Gonzales, 1882

oil, canvasImpressionismstill lifeflowersrosesglassvasetableclothspoon
some experience helpful

Recreating this painting will help students develop skills in capturing subtle color variations in white objects and creating depth through layering and soft brushstrokes. It also provides practice in depicting reflective surfaces.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes of the vase, glass, flowers, and tablecloth.

  2. step 02

    Establish the background color with a thin wash of muted browns and grays.

  3. step 03

    Block in the main areas of the tablecloth with light, broken brushstrokes, focusing on the folds and shadows.

  4. step 04

    Start building the form of the vase and glass using layers of transparent grays and greens, paying attention to the highlights and reflections.

  5. step 05

    Begin painting the roses, starting with the darkest shadows and gradually adding lighter tones to create volume.

  6. step 06

    Add the leaves and stems, varying the greens and browns to create visual interest.

  7. step 07

    Paint the spoon, capturing its metallic sheen with highlights and shadows.

  8. step 08

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

color palette

primary · titanium white · raw umber · ivory black

secondary · sap green · yellow ochre · alizarin crimson

Achieve the subtle whites by mixing titanium white with small amounts of raw umber, ivory black, and alizarin crimson. Use a limited palette to maintain color harmony.

techniques

  • ·broken color
  • ·scumbling
  • ·glazing
  • ·wet-on-wet blending
  • ·layering

common pitfalls

  • →Overworking the details, resulting in a stiff and unnatural appearance.
  • →Using pure white without mixing in other colors, making the whites appear flat.
  • →Failing to capture the subtle color variations in the shadows.
  • →Ignoring the importance of soft edges and blending.

materials

surface · stretched canvas

required

  • ·stretched canvas (16x20 inches)
  • ·oil paints (titanium white, raw umber, ivory black, sap green, yellow ochre, alizarin crimson)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·medium (e.g., Liquin)
  • ·varnish

Use high-quality oil paints for best results. Pre-toned canvas can help establish the initial values.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →color theory for painters →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

View of the Bosphorus and Rumeli Hisarı

View of the Bosphorus and Rumeli Hisarı

Sevket Dag

Paysage du Midi

Paysage du Midi

Armand Guillaumin

Self-Portrait

Self-Portrait

Frederic Bazille

Tip of the Bay

Tip of the Bay

Max Kurzweil

Long Stemmed Lovelies

Long Stemmed Lovelies

Pino Daeni

At Rosetta, Lower Egypt

At Rosetta, Lower Egypt

John Varley II

House from Oltenia

House from Oltenia

Theodor Pallady

Jewish quarter in Amsterdam

Jewish quarter in Amsterdam

Max Liebermann