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home·artworks·The Siesta
The Siesta by John Frederick Lewis

plate no. 9668

The Siesta

John Frederick Lewis, 1876

oil, canvasRomanticismgenre paintingfigureinteriorflowerstextileswindowfruit
some experience helpful

Recreating this painting will help students develop skills in depicting fabric folds, rendering skin tones in soft light, and creating depth through layering and atmospheric perspective. It also provides practice in capturing the texture of different materials with varied brushstrokes.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main compositional elements: figure, couch, table, windows, and flower arrangement.

  2. step 02

    Establish the basic color blocks for the background, couch, figure's dress, and table cloth using thin washes.

  3. step 03

    Begin layering darker values to define the shadows and folds in the fabric.

  4. step 04

    Develop the skin tones of the figure, paying attention to the subtle shifts in color and value.

  5. step 05

    Add details to the flower arrangement, focusing on capturing the shapes and colors of the individual blooms.

  6. step 06

    Refine the details of the architectural elements, such as the window latticework.

  7. step 07

    Add the final highlights and details to create a sense of depth and realism.

  8. step 08

    Glaze with thin layers of color to unify the painting and adjust the overall tone.

color palette

primary · viridian green · yellow ochre · burnt umber · titanium white

secondary · cadmium orange · alizarin crimson · ultramarine blue

Achieve the various greens by mixing viridian green with yellow ochre and white. Create the skin tones by blending white, yellow ochre, and a touch of alizarin crimson. Use burnt umber and ultramarine blue for the darker shadows.

techniques

  • ·scumbling
  • ·glazing
  • ·dry brushing
  • ·layering
  • ·color blending

common pitfalls

  • →Overworking the details too early in the process.
  • →Creating overly harsh or defined shadows.
  • →Failing to capture the subtle color variations in the fabric.
  • →Losing the overall sense of light and atmosphere.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints (viridian green, yellow ochre, burnt umber, titanium white, cadmium orange, alizarin crimson, ultramarine blue)
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round, flat, filbert)
  • ·palette
  • ·palette knife

optional

  • ·retouch varnish
  • ·painting medium
  • ·easel

Use a medium-grain canvas to allow for good paint adhesion and texture. Consider using a limited palette to simplify the color mixing process.

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