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The farewell of the volunteer by Vincenzo Cabianca

plate no. 5131

The farewell of the volunteer

Vincenzo Cabianca, 1858

oil, canvasRomanticismgenre paintingfiguresinteriorwindowsoldierfamilydog
some experience helpful

Recreating this painting will help students develop skills in depicting figures in a dimly lit interior and understanding how to create a focal point using light and shadow. Students will also learn how to mix muted colors and create a sense of depth through atmospheric perspective.

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 placement of the figures and the main elements of the interior.

  2. step 02

    Establish the overall value structure by blocking in the dark and light areas with thin washes of color.

  3. step 03

    Begin refining the figures, paying attention to their proportions and gestures.

  4. step 04

    Develop the background, including the window and the details of the interior.

  5. step 05

    Mix and apply the local colors of the figures' clothing and skin tones.

  6. step 06

    Add highlights and shadows to create form and dimension.

  7. step 07

    Refine the details of the faces and hands.

  8. step 08

    Add final touches and glazes to unify the painting and enhance the atmosphere.

color palette

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

secondary · cadmium red · ultramarine blue · yellow ochre

Achieve the muted tones by mixing earth tones with black and white. Use small amounts of red and blue to create subtle variations in color temperature. Glaze with thin washes of color to create depth and atmosphere.

techniques

  • ·underpainting
  • ·glazing
  • ·chiaroscuro
  • ·atmospheric perspective
  • ·portraiture

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 importance of edges and transitions.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·round brushes (various sizes)
  • ·palette
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a medium-grain canvas for best results. Consider using a toned ground to help establish the overall value structure.

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