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The approaching storm by Giuseppe Mazzolini

plate no. 6779

The approaching storm

Giuseppe Mazzolini, 1854

oil, canvasAcademicismgenre paintingfigurelandscapestormbasketfruitclothing
experienced study

Recreating this painting will help students develop skills in portraiture, particularly rendering skin tones and facial expressions, as well as creating atmospheric perspective in the background. It also provides practice in painting textures like fabric and woven baskets.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the figure's pose and the placement of the basket.

  2. step 02

    Establish the background with broad strokes, creating a sense of depth and the approaching storm.

  3. step 03

    Block in the main colors of the figure's clothing and skin, paying attention to the light and shadow.

  4. step 04

    Refine the facial features, focusing on the expression and the direction of the gaze.

  5. step 05

    Add details to the basket and the fruit, using smaller brushes to create texture and form.

  6. step 06

    Develop the folds and highlights in the clothing, adding depth and realism.

  7. step 07

    Adjust the values and colors throughout the painting to create a cohesive and harmonious image.

  8. step 08

    Add final highlights and details to the face and basket.

color palette

primary · titanium white · burnt umber · cadmium red · yellow ochre

secondary · ultramarine blue · viridian green · alizarin crimson

Mix skin tones by blending white, red, yellow ochre, and a touch of umber. Create the stormy sky by mixing blue, umber, and white, with hints of yellow ochre for the light breaking through.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·blending
  • ·atmospheric perspective

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated.
  • →Ignoring the importance of soft edges.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·burnt umber oil paint
  • ·cadmium red oil paint
  • ·yellow ochre oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)
  • ·linseed oil

optional

  • ·palette knife
  • ·turpentine
  • ·retouch varnish

Use high-quality oil paints for best results. Consider using a toned canvas to help establish the value structure.

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