apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Meeting
The Meeting by Marie Bashkirtseff

plate no. 3344

The Meeting

Marie Bashkirtseff, 1884

oilRealismportraitchildrenfiguresfencebuildingsstreetportrait
some experience helpful

Recreating this painting will help students develop skills in rendering realistic figures, capturing subtle color variations in skin tones, and creating depth through atmospheric perspective. It also provides practice in depicting textures like wood and fabric.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main figures and the fence structure, paying attention to proportions and perspective.

  2. step 02

    Block in the main color areas for the background buildings, sky, and ground using thin washes.

  3. step 03

    Establish the basic skin tones for each child, noting the subtle differences in color and value.

  4. step 04

    Begin layering details on the figures, focusing on clothing folds, facial features, and hair.

  5. step 05

    Add details to the fence, varying the color and texture of each plank.

  6. step 06

    Refine the background details, softening edges to create a sense of distance.

  7. step 07

    Add highlights and shadows to enhance the three-dimensionality of the figures and objects.

  8. step 08

    Make final adjustments to color, value, and detail to achieve a cohesive and realistic effect.

color palette

primary · raw umber · ivory black · titanium white · yellow ochre

secondary · burnt sienna · ultramarine blue · cadmium red light

Mix various shades of gray and brown by combining raw umber, ivory black, and titanium white. Achieve skin tones by blending yellow ochre, burnt sienna, and titanium white, with small additions of cadmium red light for warmth.

techniques

  • ·figure drawing
  • ·atmospheric perspective
  • ·layering
  • ·blending
  • ·scumbling

common pitfalls

  • →Overworking details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated.
  • →Ignoring the subtle color variations in skin tones.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·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

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