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home·artworks·Spring Planting, Greenwich Village
Spring Planting, Greenwich Village by John French Sloan

plate no. 9911

Spring Planting, Greenwich Village

John French Sloan, 1913

oil, canvasNew Realismgenre paintingfiguresgardenfencebuildingsclotheslinecat
some experience helpful

This painting offers a chance to practice figure painting in a natural setting and to explore color temperature variations in light and shadow. Students will develop skills in capturing the essence of a scene with loose brushstrokes and simplified forms.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figures and key elements like the fence and buildings.

  2. step 02

    Establish the background colors, including the sky, buildings, and fence, using thin washes.

  3. step 03

    Block in the main shapes of the figures with simplified colors and values.

  4. step 04

    Develop the ground and shadows, paying attention to the warm and cool color variations.

  5. step 05

    Add details to the figures, such as facial features and clothing patterns, using smaller brushes.

  6. step 06

    Refine the highlights and shadows to create depth and dimension.

  7. step 07

    Add final details like the cat, clothesline, and plants.

  8. step 08

    Adjust the overall color harmony and value contrast to achieve a cohesive look.

color palette

primary · titanium white · ultramarine blue · cadmium red · yellow ochre

secondary · burnt umber · viridian green · alizarin crimson

Mix various shades of purple by combining red and blue, and create earth tones by mixing yellow ochre, burnt umber, and white. Achieve the pinkish hues of the buildings by mixing red and white with a touch of blue.

techniques

  • ·broken color
  • ·alla prima
  • ·scumbling
  • ·color temperature
  • ·simplified forms

common pitfalls

  • →Overworking the details and losing the freshness of the brushstrokes.
  • →Ignoring the color temperature variations in light and shadow.
  • →Failing to establish a strong value structure.
  • →Getting bogged down in precise rendering of the figures.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·cadmium red oil paint
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·assorted brushes (round and flat)
  • ·palette

optional

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

Use a medium-textured canvas to allow for visible brushstrokes. Consider using a limited palette to simplify the color mixing process.

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oil painting for beginners →how to learn by studying the masters →
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