plate no. 9491
The Fitting
Mary Cassatt, 1891
some experience helpful
This work would teach students figure drawing fundamentals, fabric rendering, and the challenge of depicting reflections and multiple viewpoints within a single composition.
technical profile
palette complexity
2
brushwork visibility
3
value contrast
3
compositional simplicity
4
study guide
est. 12 hrsapproach — 8 steps
- step 01
Begin with light pencil sketch of the three figure positions and mirror placement
- step 02
Block in the basic shapes and proportions of all figures
- step 03
Establish the warm golden background wash
- step 04
Develop the standing figures in white garments using subtle shadows
- step 05
Render the seated figure in darker clothing with careful attention to fabric folds
- step 06
Add facial features and hair details with delicate brushwork
- step 07
Refine the mirror reflection ensuring accurate perspective
- step 08
Final details on clothing textures and room elements
color palette
primary · raw sienna · titanium white · burnt umber · yellow ochre
secondary · raw umber · cadmium yellow pale · ivory black
Golden background achieved by mixing yellow ochre with white and touch of raw sienna; fabric shadows created with white mixed with tiny amounts of raw umber
techniques
- ·figure drawing
- ·fabric fold rendering
- ·reflected image painting
- ·subtle color mixing
- ·linear drawing skills
common pitfalls
- →overworking the white garments
- →making mirror reflection too literal
- →losing proportional relationships between figures
- →creating too much contrast in the gentle lighting
materials
surface · stretched canvas 16x20 or canvas panel
required
- ·#2 flat brush
- ·#6 flat brush
- ·#4 round brush
- ·liner brush
- ·raw sienna oil paint
- ·titanium white oil paint
- ·burnt umber oil paint
- ·yellow ochre oil paint
optional
- ·palette knife for mixing
- ·medium for glazing
- ·charcoal for initial sketch
This print-inspired work benefits from smooth application techniques rather than heavy impasto
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