apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Fruit Vendor
The Fruit Vendor by John William Godward

plate no. 0581

The Fruit Vendor

John William Godward, 1917

oil, canvasNeoclassicismgenre paintingfigurefruitlandscapestatuetreesarchitecture
some experience helpful

Recreating this painting will help students develop skills in rendering realistic skin tones, drapery, and marble textures, as well as understanding atmospheric perspective.

technical profile

palette complexity
4
brushwork visibility
2
value contrast
3
compositional simplicity
3

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Create a preliminary sketch to establish the composition and proportions of the figure, statue, and landscape.

  2. step 02

    Block in the main shapes and colors, focusing on the overall value structure.

  3. step 03

    Begin refining the details of the figure, paying attention to the folds of the drapery and the subtle shifts in skin tone.

  4. step 04

    Work on the marble statue, using light and shadow to create a sense of volume and texture.

  5. step 05

    Develop the background landscape, using atmospheric perspective to create depth.

  6. step 06

    Add details to the fruit and table, paying attention to the highlights and shadows.

  7. step 07

    Refine the overall composition and make any necessary adjustments to the colors and values.

  8. step 08

    Add final details and highlights.

color palette

primary · titanium white · burnt umber · cadmium red · yellow ochre

secondary · ultramarine blue · alizarin crimson · sap green

Mix various shades of pink for the drapery and skin tones by combining white, red, and a touch of brown. Achieve the marble effect by layering different shades of white, gray, and beige.

techniques

  • ·glazing
  • ·scumbling
  • ·blending
  • ·rendering
  • ·atmospheric perspective

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Ignoring the subtle shifts in color and tone.
  • →Not creating enough depth in the landscape.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·titanium white oil paint
  • ·burnt umber oil paint
  • ·cadmium red oil paint
  • ·yellow ochre oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)
  • ·linseed oil

optional

  • ·palette knife
  • ·turpentine
  • ·retouch varnish

Use high-quality oil paints for best results. A medium-grain canvas will provide a good surface for layering paint.

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 Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Marie-Gabrielle Capet

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

Giovanni Battista Piranesi

Portrait of Louis d'Orleans

Portrait of Louis d'Orleans

Franz Xaver Winterhalter

Rooftops in the shadows

Rooftops in the shadows

Pierre-Henri de Valenciennes

The Schmadribach Falls

The Schmadribach Falls

Joseph Anton Koch

A Scene from 'As You Like It' by William Shakespeare

A Scene from 'As You Like It' by William Shakespeare

William Hamilton

Portrait of Klementyna Ostrowska Née Sanguszko

Portrait of Klementyna Ostrowska Née Sanguszko

Vincenzo Camuccini

Self-Portrait

Self-Portrait

Anton Raphael Mengs