plate no. 8756

Still life in white

Antonio Sicurezza, 1972

oil, panelPost-Impressionismstill lifestill lifeonionsflowerspitchervegetablesfruit

some experience helpful

Recreating this painting will help students develop skills in layering paint, creating texture with visible brushstrokes, and understanding color temperature variations within a limited palette. Students will also practice painting rounded forms and capturing the essence of light and shadow on various surfaces.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 8 hrs

approach — 8 steps

step 01
Lightly sketch the basic shapes and composition onto the canvas, paying attention to the placement of the onions, pitcher, and flowers.
step 02
Block in the background with a thin layer of yellow ochre and raw umber, creating a warm, muted tone.
step 03
Establish the main color masses for the onions, using a mix of white, green, and a touch of brown for shadows.
step 04
Paint the pitcher with a mix of yellow ochre, burnt sienna, and white, layering the colors to create depth and form.
step 05
Add the flowers using bold strokes of red, yellow, and green, focusing on capturing their vibrant colors.
step 06
Develop the foliage around the onions with various shades of green, using short, broken brushstrokes to create texture.
step 07
Refine the details of the onions, adding highlights and shadows to create a sense of volume.
step 08
Add final touches and adjustments to the overall composition, ensuring a harmonious balance of colors and values.

color palette

primary · yellow ochre · titanium white · sap green · cadmium red

secondary · raw umber · burnt sienna · lemon yellow

Achieve the onion's pale color by mixing white with small amounts of green, brown, and yellow. Create the greens by mixing sap green with lemon yellow and white. Muted tones are achieved by adding a touch of complementary color.

techniques

·impasto
·broken color
·scumbling
·layering
·alla prima

common pitfalls

→Overblending the colors, resulting in a flat and lifeless appearance.
→Neglecting the importance of value contrast, leading to a lack of depth and form.
→Getting bogged down in details too early, before establishing the overall composition and color masses.
→Using colors straight from the tube without mixing, resulting in a harsh and unnatural look.

materials

surface · stretched canvas

required

·stretched canvas
·oil paints (yellow ochre, titanium white, sap green, cadmium red, raw umber, burnt sienna, lemon yellow)
·palette
·palette knife
·assorted brushes (round and flat)
·linseed oil
·turpentine or odorless mineral spirits
·rags