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home·artworks·Thinking of Garibaldi
Thinking of Garibaldi by Domenico Induno

plate no. 6758

Thinking of Garibaldi

Domenico Induno, 1862

oil, canvasRomanticismgenre paintingfigureinteriorwindowchairfireplaceportrait
some experience helpful

Recreating this painting will help students develop skills in rendering realistic figures in a complex indoor setting and understanding light and shadow to create depth and volume.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure, window, and key objects.

  2. step 02

    Establish the background with thin washes of color, paying attention to the light and shadow patterns.

  3. step 03

    Block in the main shapes of the figure, including the dress, blouse, and head covering.

  4. step 04

    Begin refining the details of the face, hands, and clothing, using smaller brushes and more precise strokes.

  5. step 05

    Add details to the window, chair, fireplace, and other objects in the room.

  6. step 06

    Work on the textures of the fabrics, wood, and other materials.

  7. step 07

    Adjust the values and colors to create a sense of depth and atmosphere.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · yellow ochre · burnt umber · Prussian blue · titanium white

secondary · cadmium red · raw sienna · ivory black

Achieve the muted tones by mixing complementary colors and using white to adjust the values. The green is a mix of blue and yellow ochre, muted with burnt umber.

techniques

  • ·underpainting
  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·portraiture

common pitfalls

  • →Getting the proportions of the figure wrong.
  • →Overworking the details too early in the process.
  • →Failing to create a sense of depth and atmosphere.
  • →Not paying enough attention to the light and shadow patterns.

materials

surface · stretched canvas

required

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

optional

  • ·medium gloss
  • ·retouch varnish

Use a medium-tooth canvas for best results. Consider using a toned ground to simplify the initial stages of painting.

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