plate no. 0745
The dead goldfinch ("All that was left to love")
George Elgar Hicks, 1878
some experience helpful
Recreating this painting will help students develop skills in portraiture, capturing subtle emotions, and creating realistic textures with visible brushstrokes. It also provides practice in mixing muted color palettes and rendering soft lighting.
technical profile
palette complexity
4
brushwork visibility
4
value contrast
3
compositional simplicity
3
study guide
est. 20 hrsapproach — 8 steps
- step 01
Begin with a light sketch outlining the main shapes: the figure, the birdcage, and the background.
- step 02
Establish the overall color scheme by applying thin washes of color to the canvas, focusing on the background and the girl's dress.
- step 03
Block in the main values, paying attention to the light and shadow on the figure's face and clothing.
- step 04
Start building up the details of the face, focusing on capturing the expression and subtle variations in skin tone.
- step 05
Develop the textures of the dress and the background using broken brushstrokes and layering techniques.
- step 06
Paint the dead goldfinch, paying close attention to its delicate features and colors.
- step 07
Refine the details and adjust the values to create a sense of depth and realism.
- step 08
Add final highlights and shadows to enhance the overall impact of the painting.
color palette
primary · burnt umber · raw sienna · titanium white · cadmium red
secondary · ultramarine blue · yellow ochre · ivory black
Achieve the skin tones by mixing titanium white, raw sienna, and a touch of cadmium red. Muted greens and browns for the background can be created by mixing burnt umber, yellow ochre, and ultramarine blue.
techniques
- ·portraiture
- ·glazing
- ·scumbling
- ·dry brushing
- ·chiaroscuro
common pitfalls
- →Overworking the details and losing the overall sense of unity.
- →Failing to capture the subtle nuances of the figure's expression.
- →Using colors that are too bright or saturated.
- →Ignoring the importance of value contrast in creating depth.
materials
surface · stretched canvas
required
- ·stretched canvas (16x20 inches)
- ·oil paints (burnt umber, raw sienna, titanium white, cadmium red, ultramarine blue, yellow ochre, ivory black)
- ·linseed oil
- ·turpentine
- ·assorted brushes (round and flat)
- ·palette
- ·palette knife
- ·rags
optional
- ·medium gloss
- ·easel
- ·mahl stick
Use high-quality oil paints for best results. A medium-grit canvas will provide a good surface for layering and blending.
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