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home·artworks·Study of Amacie and Irene De La Grange
Study of Amacie and Irene De La Grange by Jean-André Rixens

plate no. 7342

Study of Amacie and Irene De La Grange

Jean-André Rixens

oilNaturalismsketch and studyfigureschildrendoglandscapetreesgrass
some experience helpful

Recreating this painting will help students practice loose brushwork and capturing light and shadow on figures in an outdoor setting. It will also develop skills in color mixing to achieve naturalistic skin tones and foliage.

technical profile

palette complexity
3
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 and composition, focusing on the placement of the figures and the dog.

  2. step 02

    Block in the background with broad strokes of green and brown, creating a sense of depth.

  3. step 03

    Establish the basic skin tones and clothing colors for the figures, using thin washes.

  4. step 04

    Begin to build up the forms of the figures and the dog with thicker paint and more defined brushstrokes.

  5. step 05

    Add highlights and shadows to create dimension and volume.

  6. step 06

    Refine the details of the faces and clothing, paying attention to the light and shadow.

  7. step 07

    Add details to the grass and foliage, using short, broken strokes.

  8. step 08

    Make final adjustments to the composition and color balance.

color palette

primary · titanium white · yellow ochre · burnt umber

secondary · cadmium red · viridian green · ultramarine blue

Mix white with small amounts of yellow ochre and cadmium red for skin tones; use viridian green and ultramarine blue for cooler greens in the background; mix burnt umber and ultramarine blue for the dog's dark fur.

techniques

  • ·alla prima
  • ·broken color
  • ·scumbling
  • ·dry brushing
  • ·color mixing

common pitfalls

  • →Overworking the details and losing the loose, painterly feel.
  • →Using too much paint and creating a muddy effect.
  • →Failing to capture the subtle variations in skin tone.
  • →Ignoring the importance of light and shadow in creating form.

materials

surface · stretched canvas

required

  • ·stretched canvas (12x16 inches)
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine
  • ·rags

optional

  • ·medium gloss
  • ·easel
  • ·mahl stick

Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.

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