apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The cat on the linen
The cat on the linen by Giacomo Favretto

plate no. 5226

The cat on the linen

Giacomo Favretto, 1882

oil, panelRealismgenre paintingwomancatinteriorcouchlinenfigure
some experience helpful

Recreating this painting will help students develop skills in depicting figures in shadow and creating texture with visible brushstrokes. It also provides practice in capturing the subtle nuances of light and shadow in an interior scene.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure, couch, and cat.

  2. step 02

    Block in the main areas of color, starting with the background and couch.

  3. step 03

    Establish the dark values of the woman's dress, paying attention to the folds and shadows.

  4. step 04

    Add the lighter values of the linen and the cat, building up the forms with layers of paint.

  5. step 05

    Refine the details of the woman's face and hands, focusing on the light and shadow.

  6. step 06

    Add texture to the background and couch with visible brushstrokes.

  7. step 07

    Adjust the values and colors as needed to create a sense of depth and atmosphere.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · ivory black · raw umber · yellow ochre

secondary · burnt sienna · titanium white · ultramarine blue

Mix ivory black and raw umber for the dark tones of the dress. Use yellow ochre and white for the background, adding small amounts of burnt sienna for warmth. Mix white with a touch of ultramarine for the cooler tones in the linen.

techniques

  • ·scumbling
  • ·dry brush
  • ·layering
  • ·chiaroscuro
  • ·alla prima

common pitfalls

  • →Overworking the details, leading to a stiff and unnatural look.
  • →Failing to establish a strong value structure, resulting in a flat and lifeless painting.
  • →Ignoring the subtle color variations in the shadows, making them appear too dark and uniform.
  • →Not capturing the texture of the fabrics and surfaces, making the painting look smooth and unrealistic.

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·#6 round brush

optional

  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits

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

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Portrait of James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy