apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Lady in white
The Lady in white by Marie Bracquemond

plate no. 6147

The Lady in white

Marie Bracquemond

oilImpressionismportraitfigureportraitdressfoliagecarpetgarden
some experience helpful

Recreating this painting will help students develop skills in rendering fabric textures and capturing subtle variations in light and shadow. It also provides practice in creating a sense of depth and atmosphere through color and brushwork.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the figure's pose and the placement of the carpet.

  2. step 02

    Block in the background foliage with broad strokes of green and brown.

  3. step 03

    Establish the basic values of the dress, using a mix of white and subtle grays.

  4. step 04

    Begin to define the folds and details of the dress, paying attention to the way light interacts with the fabric.

  5. step 05

    Add the details of the face and hands, focusing on capturing the likeness of the subject.

  6. step 06

    Work on the carpet, using small brushstrokes to create the intricate patterns.

  7. step 07

    Refine the details of the foliage and add highlights to create a sense of depth.

  8. step 08

    Add final touches and adjust the overall values to create a harmonious composition.

color palette

primary · titanium white · ivory black · yellow ochre

secondary · burnt umber · viridian · alizarin crimson

Achieve the subtle grays in the dress by mixing white with small amounts of black, yellow ochre, and burnt umber. Use viridian and yellow ochre to create a range of greens for the foliage. Mix alizarin crimson and burnt umber for the carpet's reds and browns.

techniques

  • ·broken color
  • ·scumbling
  • ·glazing
  • ·dry brushing
  • ·alla prima

common pitfalls

  • →Overworking the details of the dress, resulting in a stiff and unnatural appearance.
  • →Failing to capture the subtle variations in value, leading to a flat and lifeless painting.
  • →Ignoring the importance of the background, resulting in a lack of depth and atmosphere.
  • →Getting lost in the details of the carpet pattern too early.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·viridian oil paint
  • ·alizarin crimson oil paint
  • ·assorted brushes (round and flat)

optional

  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits
  • ·medium gloss

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 →color theory for painters →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

View of the Bosphorus and Rumeli Hisarı

View of the Bosphorus and Rumeli Hisarı

Sevket Dag

Paysage du Midi

Paysage du Midi

Armand Guillaumin

Self-Portrait

Self-Portrait

Frederic Bazille

Tip of the Bay

Tip of the Bay

Max Kurzweil

Long Stemmed Lovelies

Long Stemmed Lovelies

Pino Daeni

At Rosetta, Lower Egypt

At Rosetta, Lower Egypt

John Varley II

House from Oltenia

House from Oltenia

Theodor Pallady

Jewish quarter in Amsterdam

Jewish quarter in Amsterdam

Max Liebermann