apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Still Life - Fruit
Still Life - Fruit by William Merritt Chase

plate no. 0288

Still Life - Fruit

William Merritt Chase

oil, canvasRealismstill lifefruitpeachesgrapesbowlcopper pottable
experienced study

Students would develop skills in chiaroscuro lighting, understanding warm and cool color temperature relationships, and rendering reflective surfaces and varied textures.

technical profile

palette complexity
4
brushwork visibility
3
value contrast
5
compositional simplicity
4

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Block in the dark background with burnt umber and raw umber mixture

  2. step 02

    Establish the basic shapes of the bowl, fruits, and copper pot with mid-tones

  3. step 03

    Map out the light source coming from the left, identifying highlight areas

  4. step 04

    Build up the warm oranges and yellows of the peaches with careful form modeling

  5. step 05

    Add the translucent quality of grapes using purple and green mixtures

  6. step 06

    Develop the reflective surfaces of the copper pot and bowl with warm highlights

  7. step 07

    Refine edges, making some soft and lost, others sharp and found

  8. step 08

    Add final highlights and the most intense darks for maximum contrast

color palette

primary · burnt umber · cadmium orange · raw umber · titanium white

secondary · cadmium yellow · alizarin crimson · dioxazine purple · yellow ochre

Mix warm peach tones with orange, yellow, and white; create rich darks by combining burnt umber with small amounts of purple or crimson

techniques

  • ·chiaroscuro lighting
  • ·glazing for depth
  • ·form modeling
  • ·edge variation
  • ·warm/cool color relationships

common pitfalls

  • →Making all edges equally sharp
  • →Using pure black for shadows
  • →Overworking the highlights
  • →Ignoring reflected light in shadow areas

materials

surface · stretched canvas or canvas board, toned with warm gray

required

  • ·#2, #6, #10 flat brushes
  • ·#4 round brush
  • ·burnt umber oil paint
  • ·cadmium orange oil paint
  • ·titanium white oil paint
  • ·raw umber oil paint
  • ·stretched canvas 16x20

optional

  • ·palette knife
  • ·glazing medium
  • ·#1 liner brush
  • ·blending brush

A toned canvas helps establish the middle values more easily in this dramatic lighting scenario

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