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home·artworks·The New Arrival
The New Arrival by Émile Auguste Hublin

plate no. 1193

The New Arrival

Émile Auguste Hublin, 1869

oil, canvasRealismportraitportraitfigurebasketkittenclothingchild
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering skin tones, as well as understanding how to create a focal point and use soft lighting.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the oval composition and the basic shapes of the figure, basket, and kitten.

  2. step 02

    Establish the background with a thin wash of muted dark tones.

  3. step 03

    Block in the main colors of the figure's clothing, skin, and the basket, focusing on accurate values.

  4. step 04

    Begin refining the skin tones with subtle layers of color, paying attention to the light and shadow on the face.

  5. step 05

    Develop the details of the clothing, including the folds and textures of the fabric.

  6. step 06

    Paint the basket, focusing on the woven texture and the interplay of light and shadow.

  7. step 07

    Add the kitten, simplifying its form and using soft brushstrokes to suggest fur.

  8. step 08

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

color palette

primary · ivory black · raw umber · titanium white · cadmium red

secondary · yellow ochre · burnt sienna

Achieve the skin tones by mixing white, yellow ochre, and a touch of red. Use raw umber and ivory black to create the dark tones for the clothing and background.

techniques

  • ·glazing
  • ·scumbling
  • ·soft blending
  • ·chiaroscuro
  • ·portraiture

common pitfalls

  • →Overworking the skin tones, resulting in a muddy or unnatural appearance.
  • →Failing to establish a strong value structure, leading to a flat and lifeless painting.
  • →Getting lost in the details of the basket, neglecting the overall composition.
  • →Ignoring the subtle color variations in the shadows, resulting in a monochrome effect.

materials

surface · stretched canvas

required

  • ·stretched canvas (16x20 inches)
  • ·oil paints (ivory black, raw umber, titanium white, cadmium red, yellow ochre, burnt sienna)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·assorted round and flat brushes
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish

Use high-quality oil paints for best results. A smooth canvas surface will aid in blending.

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