apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Interior of the Pavlovs country house
The Interior of the Pavlovs country house by Konstantin Somov

plate no. 0281

The Interior of the Pavlovs country house

Konstantin Somov, 1899

oilSymbolisminteriorinteriorroomwindowsfurniturelightshadows
some experience helpful

Recreating this painting will help students understand the interplay of light and shadow within an interior space and practice capturing the mood of a scene through color and brushwork. It also offers practice in creating depth and perspective using tonal values.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes of the room, windows, and furniture, paying attention to perspective.

  2. step 02

    Establish the overall color scheme by blocking in large areas of color, focusing on the dominant browns and oranges.

  3. step 03

    Define the light source and begin to build up the shadows and highlights, using darker and lighter tones of the base colors.

  4. step 04

    Add details to the windows, including the suggestion of foliage outside and the reflections on the glass.

  5. step 05

    Refine the furniture and other objects in the room, adding details such as the lamp and the chair.

  6. step 06

    Pay attention to the cast shadows on the floor, using warm yellows and oranges to capture the sunlight.

  7. step 07

    Adjust the overall composition and color balance, adding final touches and highlights as needed.

  8. step 08

    Allow to dry and add a varnish layer.

color palette

primary · burnt umber · yellow ochre · titanium white

secondary · ultramarine blue · sap green · cadmium orange

Mix browns by combining burnt umber and yellow ochre. Use white to lighten colors and create highlights. Mix greens for the foliage by combining blue and yellow.

techniques

  • ·blocking in
  • ·scumbling
  • ·dry brushing
  • ·layering
  • ·tonal value study

common pitfalls

  • →Getting the perspective wrong, which can make the room look distorted.
  • →Overworking the details, which can make the painting look too busy.
  • →Failing to capture the subtle variations in color and tone, which can make the painting look flat.
  • →Not paying attention to the light source, which can make the shadows look unnatural.

materials

surface · stretched canvas

required

  • ·stretched canvas (12x16 inches)
  • ·burnt umber oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·palette
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

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

Satan Addressing his Potentates

Satan Addressing his Potentates

William Blake

Self-portrait in studio

Self-portrait in studio

Franz Stuck

Tajik

Tajik

Kuzmá Petrov-Vodkin

View from the studio in Eerbeek

View from the studio in Eerbeek

Jan Mankes

Harlequin's garden

Harlequin's garden

Serge Sudeikin

Incantation

Incantation

Felicien Rops

Anzac, the Landing

Anzac, the Landing

George Washington Lambert

Paisatge

Paisatge

Joan Brull