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home·artworks·Study of a Figure in a Landscape
Study of a Figure in a Landscape by Francis Bacon

plate no. 2736

Study of a Figure in a Landscape

Francis Bacon, 1952

oil, canvasExpressionismlandscapefigurefieldgrasslandscapeskytrees
some experience helpful

Recreating this painting will help students develop skills in layering colors, creating texture with brushstrokes, and simplifying complex forms into basic shapes. It also encourages expressive mark-making and capturing a mood rather than precise detail.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, indicating the horizon line, figure placement, and general areas of the field and trees.

  2. step 02

    Block in the sky with a thin layer of blue, allowing some of the canvas to show through.

  3. step 03

    Apply a base layer of burnt sienna and yellow ochre for the field, using loose, gestural brushstrokes.

  4. step 04

    Add darker values to the trees and background using burnt umber and touches of blue.

  5. step 05

    Define the figure with dark grays and blacks, simplifying the form into basic shapes.

  6. step 06

    Layer additional strokes of yellow, green, and brown to create the texture of the grass.

  7. step 07

    Add highlights to the grass and figure using lighter shades of yellow and gray.

  8. step 08

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

color palette

primary · burnt sienna · yellow ochre · ultramarine blue

secondary · burnt umber · titanium white · sap green

Mix various shades of brown and green by combining burnt sienna, yellow ochre, and ultramarine blue. Use white to lighten the colors and create highlights. Mix dark grays using ultramarine blue and burnt umber.

techniques

  • ·dry brush texture
  • ·scumbling
  • ·layering
  • ·expressive brushstrokes
  • ·simplification of form

common pitfalls

  • →Overworking the details and losing the expressive quality.
  • →Creating a flat, lifeless field by not varying the color and value.
  • →Making the figure too detailed and distracting from the overall composition.
  • →Not allowing the underpainting to show through.

materials

surface · stretched canvas

required

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

optional

  • ·palette knife
  • ·painting medium
  • ·easel

Use a medium-grit canvas to enhance the texture. Thin the oil paints with linseed oil for smoother application and blending.

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