apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Old Gardener
The Old Gardener by Robert Lewis Reid

plate no. 0383

The Old Gardener

Robert Lewis Reid, 1921

oilImpressionismportraitportraitmanplantshatchairindoor
some experience helpful

Recreating this painting will help students develop skills in layering paint to create texture and capturing subtle color variations within a limited palette. It also provides practice in rendering a portrait with character and emotion.

technical profile

palette complexity
4
brushwork visibility
5
value contrast
3
compositional simplicity
3

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the proportions of the figure and the placement of the plants.

  2. step 02

    Establish the background color with a thin wash of diluted paint.

  3. step 03

    Block in the main shapes of the figure, plants, and pots using simplified color masses.

  4. step 04

    Begin layering paint to build up texture and define forms, paying attention to the direction of the brushstrokes.

  5. step 05

    Mix and apply subtle color variations to create depth and dimension in the skin tones, clothing, and foliage.

  6. step 06

    Add details to the face, hands, and plants, refining the shapes and adding highlights and shadows.

  7. step 07

    Adjust the overall color balance and value contrast to create a cohesive and harmonious painting.

  8. step 08

    Add final details and highlights to bring the painting to life.

color palette

primary · raw umber · burnt sienna · titanium white

secondary · cadmium red light · ultramarine blue · yellow ochre

Achieve the muted tones by mixing earth tones with white and small amounts of blue and red. Use red and yellow ochre to create the flesh tones, and add blue for shadows.

techniques

  • ·dry brush texture
  • ·scumbling
  • ·layering
  • ·color mixing
  • ·impasto

common pitfalls

  • →Overworking the painting and losing the freshness of the brushstrokes.
  • →Failing to capture the subtle color variations and ending up with a flat, lifeless painting.
  • →Getting bogged down in details too early and losing sight of the overall composition.
  • →Not paying attention to the direction of the brushstrokes, which can create a sense of movement and texture.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·cadmium red light oil paint
  • ·ultramarine blue oil paint
  • ·yellow ochre oil paint
  • ·assorted brushes (round and flat)

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·painting medium

Use a medium-textured canvas to enhance the brushwork. 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