apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Italian woman
The Italian woman by Edouard Manet

plate no. 6659

The Italian woman

Edouard Manet, 1860

oil, canvasRealismportraitfigureportraitwomancostumejewelryfabric
experienced study

This portrait would develop skills in flesh tone mixing, fabric rendering with multiple textures, and creating dramatic lighting against dark backgrounds typical of classical portraiture.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Begin with charcoal sketch focusing on proportions and placement of figure against dark background

  2. step 02

    Block in the darkest darks of the background using burnt umber mixed with ivory black

  3. step 03

    Establish the basic flesh tones using a warm base mixture, working from shadow to light

  4. step 04

    Paint the white head covering and blouse areas, noting how light reflects differently on various fabric textures

  5. step 05

    Add the red costume elements, paying attention to how the color shifts in light and shadow

  6. step 06

    Develop facial features with careful attention to the directional lighting from the left

  7. step 07

    Refine fabric textures and jewelry details with smaller brushes

  8. step 08

    Final adjustments to highlight the strongest light areas and deepen the darkest shadows

color palette

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

secondary · ivory black · raw sienna · cadmium yellow pale · ultramarine blue

Flesh tones require warm base of yellow ochre, white, and touch of red, modified with raw sienna for shadows and cooled with tiny amounts of blue in reflected light areas

techniques

  • ·chiaroscuro lighting
  • ·alla prima wet-on-wet
  • ·scumbling for fabric texture
  • ·glazing for rich darks
  • ·impasto for highlights

common pitfalls

  • →overworking flesh tones into muddiness
  • →making the background too light and losing dramatic contrast
  • →painting jewelry too precisely and losing painterly quality
  • →not observing the warm/cool color temperature shifts in the lighting

materials

surface · stretched canvas primed with white gesso

required

  • ·#2, #6, #10 flat bristle brushes
  • ·#4 round sable brush
  • ·burnt umber oil paint
  • ·titanium white oil paint
  • ·cadmium red light oil paint
  • ·yellow ochre oil paint
  • ·ivory black oil paint
  • ·stretched canvas 16x20 inches

optional

  • ·palette knife for mixing
  • ·raw sienna oil paint
  • ·painting medium
  • ·#1 liner brush for fine details

A warm-toned ground would help unify the painting, but white gesso allows for maximum color intensity in the lighter areas

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 James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy