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home·artworks·The boy at the cellar window
The boy at the cellar window by Felix Schlesinger

plate no. 1994

The boy at the cellar window

Felix Schlesinger

oil, canvasRomanticismgenre paintingboyapplescellarwindowstill lifebars
some experience helpful

Recreating this painting will help students develop skills in rendering realistic textures and creating depth through subtle value changes. It also provides practice in depicting figures in a dimly lit environment.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the boy, the window bars, and the still life arrangement.

  2. step 02

    Establish the overall value structure by blocking in the dark areas first, then the mid-tones, and finally the highlights.

  3. step 03

    Begin refining the details of the boy's face and clothing, paying attention to the subtle shifts in value and color.

  4. step 04

    Work on the still life elements, focusing on the textures of the apples, cabbage, and wooden table.

  5. step 05

    Add the window bars, ensuring they recede into the background with proper perspective and value.

  6. step 06

    Refine the background, creating a sense of depth and atmosphere.

  7. step 07

    Add final details and highlights to enhance the realism of the painting.

  8. step 08

    Glaze with thin layers of color to unify the painting and create a sense of depth.

color palette

primary · burnt umber · raw sienna · ivory black · titanium white

secondary · cadmium red · yellow ochre · sap green

Achieve the muted tones by mixing earth tones with black and white. Use small amounts of cadmium red and yellow ochre to add warmth to the skin tones and apples. Mix sap green with yellow ochre and white for the cabbage.

techniques

  • ·chiaroscuro
  • ·scumbling
  • ·glazing
  • ·dry brushing
  • ·alla prima

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too bright or saturated.
  • →Ignoring the subtle shifts in value and color.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints (burnt umber, raw sienna, ivory black, titanium white, cadmium red, yellow ochre, sap green)
  • ·linseed oil
  • ·turpentine
  • ·palette
  • ·assorted brushes (round and flat)
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use a medium-grain canvas for best results. Consider using a toned canvas to speed up the painting process.

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