plate no. 8289

This is our Corner

oil, canvasRomanticismgenre paintingfigureschildreninteriorbooksfurnitureclothing

what to study here

It shows how a nearly black ground, soft-edged flesh and a warm-cream dress can isolate one figure without losing depth in the shadows.

Study how the value structure carries this picture. The background is near-black, barely lighter than the canvas ground, so the standing girl's face and off-white dress read as the brightest passage against it. The dress is not pure white. It is warm cream in shadow and cooler cream in the light, which keeps it from going flat against the dark. Look at the edges next. The girl's face and neck are blended almost without visible strokes, while the dress combines crisp edges on fold lines with softer transitions on curved forms. Her hair is handled with decisive reddish-gold strokes over deeper brown. The background furniture and arched element dissolve into diffuse brushwork, so they register as presence rather than detail. The floor sits between the two zones in value. Its woven pattern is suggested with linear, almost decorative strokes and not overworked. The seated child in brown stays in the middle values and supports the standing girl. Squint and you should see three zones: dark void, two bright figures, warm floor.

key decision

The painter kept the background close to the darkness of the canvas ground and modeled the white dress in warm and cool creams, not pure white. This makes the standing girl the brightest passage while the dress stays dimensional.

From the record

Dimensions: 56.5 cm high × 47 cm wide
Institution: Van Gogh Museum
Location: Van Gogh Museum
Inception: 1873
Materials: oil paint, panel

Wikidata item Q124993298

recreation guide

Sir Lawrence Alma-Tadema’s *This is our Corner* (1872) is a quintessential example of his mature style, characterized by the depiction of classical antiquity with a focus on luxury, decadence, and meticulous detail. As a Dutch painter who settled in London, Alma-Tadema became famous for setting languorous figures within fabulous marbled interiors or against dazzling Mediterranean backdrops (Source 2). While the specific visual details of *This is our Corner* are not explicitly described in the provided sources, the work falls under the genre of history painting or high-quality genre painting, which often depicts narrative moments or idealized everyday life within a classical context (Source 5, Source 6). The artist was admired during his lifetime for his draftsmanship and accurate depictions of Classical antiquity, suggesting a rigorous approach to form and material representation (Source 2).

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints	Primary medium for achieving the illusion of natural appearances and texture.	High-quality tube oils (e.g., Winsor & Newton, Gamblin)
Canvas	Support for the oil paint, consistent with 19th-century history painting practices.	Linen or cotton canvas, primed
Brushes	For detailed draftsmanship and smooth blending required by the artist's style.	Sable or synthetic brushes of various sizes
Palette knives	For mixing colors and potentially applying thick impasto for marble textures.	Standard steel palette knives
Solvents (Turpentine/Oil)	For thinning paint and cleaning brushes.	Odorless mineral spirits or linseed oil

preparation

surface prep

The surface should be prepared with a white or light-toned ground to facilitate the luminous quality characteristic of Alma-Tadema’s work. While specific preparation methods for this painting are not detailed in the sources, 19th-century history painters typically used a well-primed canvas to support the detailed work required for marble and flesh tones (Source 6).

underdrawing

Alma-Tadema was admired for his draftsmanship (Source 2). It is likely that a precise underdrawing was made to ensure the accuracy of the classical architecture and figures. The artist would have used a charcoal or thinned oil sketch to map out the composition, focusing on the correct proportions of the figures and the geometric precision of the marble interiors.

underpainting

An underpainting (imprimatura) may have been used to establish tonal values. Given the artist's focus on light and atmosphere, a neutral or warm-toned underlayer would help in building up the luminous effects described in the sources (Source 1).

color palette

White/Cream

Lead White or Titanium White

Marble interiors and highlights, consistent with the artist's depiction of 'fabulous marbled interiors' (Source 2).

Blue

Ultramarine or Cobalt Blue

Meditanean sky and sea backdrops, as noted in the artist's typical settings (Source 2).

Warm Flesh Tones

Yellow Ochre, Vermilion, White

Figures, requiring careful handling to avoid 'meretricious' deception while maintaining vitality (Source 1).

Complementary Accents

Reds, Greens, Oranges

Drapery and accessories, using complementary color principles to enhance brilliance (Source 3, Source 4).

composition

While the specific composition of *This is our Corner* is not detailed in the sources, Alma-Tadema’s works typically feature languorous figures set in spacious, detailed interiors (Source 2). The composition likely balances the figures with the architectural elements, using the marble surfaces to reflect light and create a sense of depth. The artist’s approach to composition would involve careful placement of figures to guide the viewer’s eye through the narrative or scene (Source 6).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the composition with precise lines, focusing on the architectural details and figure poses.
Tip — Ensure accuracy in proportions and perspective, as Alma-Tadema was known for his detailed draftsmanship (Source 2).
Draftsmanship

underpainting

step 02
Apply a thin layer of paint to establish basic tones and values.
Tip — Use a neutral tone to help with color mixing and value judgment.
Imprimatura

first pass

step 03
Block in the main colors, starting with the background and large areas of marble.
Tip — Pay attention to the complementary colors to enhance brilliance, as suggested by color theory (Source 3).
Blocking in

refining

step 04
Add details to the figures and marble textures, using fine brushes for precision.
Tip — Avoid overworking the paint to maintain the vitality of the medium (Source 1).
Glazing and Scumbling

finishing

step 05
Adjust highlights and shadows, ensuring the light effects are convincing.
Tip — Use the law of simultaneous contrast to enhance the visual impact of colors (Source 7).
Chiaroscuro

varnishing

step 06
Apply a varnish to protect the painting and unify the surface.
Tip — Wait for the paint to dry completely before varnishing.
Varnishing

critical techniques

Simultaneous Contrast

Using complementary colors next to each other to enhance their brilliance, as described in color theory (Source 3).

Draftsmanship

Precise drawing of figures and architecture, a hallmark of Alma-Tadema’s work (Source 2).

Illusion of Natural Appearances

Using oil paint to create a realistic depiction of marble and flesh, while maintaining the vitality of the medium (Source 1).

common pitfalls

→Overworking the paint to achieve a deceptive realism, which can lose the vitality of the medium (Source 1).
→Ignoring the principles of color contrast, leading to dull or muddy colors (Source 3, Source 7).
→Inaccurate draftsmanship, which would detract from the artist’s reputation for precision (Source 2).

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·Specific visual details of *This is our Corner* (e.g., exact figure poses, specific objects in the room) are not described in the sources.
·The exact palette used by Alma-Tadema for this specific painting is not detailed.
·The specific underpainting technique used by the artist is not explicitly stated.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice and Science of Drawing↗
- XX MATERIALS — applied to Understanding the importance of medium vitality and avoiding deceptive realism (Source 1).
The Science of Painting↗
- 4. When two colours separated by more than two others — applied to Color theory and complementary color usage (Source 3).
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints of different tones of the same — applied to Chiaroscuro and color contrast principles (Source 7).

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia bio — Sir Lawrence Alma-Tadema↗
- part 1 — applied to Biographical context, style, and reputation for draftsmanship (Source 2).
Wikipedia: Complementary colors↗
- Complementary colors — part 1 — applied to Understanding complementary color pairs (Source 4).
Wikipedia: Genre painting↗
- Genre painting — part 1 — applied to Context of genre and history painting (Source 5, Source 6).

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

Two children occupy a dark interior corner: a standing girl in white dominates the right side, her reddish-golden hair and pale dress brilliantly lit from the front-right, while a darker-clothed child reclines left, absorbed in a book or document. The background is severely darkened—barely legible wooden furniture and an arched architectural element recede into shadow—which intensifies the theatrical spotlight on the standing girl's face and body. A patterned floor of warm ochres and woven textures anchors the composition at the bottom, drawing the eye upward to her direct, serene gaze.

value structure

The painting is organized in stark contrast: a near-black background (barely lighter than the canvas ground) against luminous midtones and lights in the foreground figures. The standing girl's white dress and face form the brightest passage; the seated child's brown clothing sits in a middle value; the patterned floor bridges warm mid-tones. Squint and you see three distinct zones: dark void, two bright figures, and a tan-to-brown floor. There are no truly pure whites—the dress is off-white with warm and cool modeling—which keeps it from flatness against the surrounding darkness.

observed palette and mixes

#21161d
burnt umber + ultramarine + touch of black
darkest background walls and deep shadows behind the seated child
#52302c
burnt umber + cadmium red
medium-dark interior walls and shadows on the seated child's clothing
#735040
yellow ochre + burnt umber + cadmium red
mid-toned floor rugs and warm furniture shadows
#a46844
yellow ochre + cadmium red light + titanium white
lighter portions of the woven floor patterns and reddish-brown accents
#bb9477
yellow ochre + cadmium red + titanium white + touch of burnt sienna
warm skin tones on the girl's neck and the seated child's visible skin, and light floor accents
#dec4ae
titanium white + yellow ochre + cadmium red + touch of burnt umber
off-white of the standing girl's dress, her face highlights, and cream-colored floor patterns

edges and brushwork

The standing girl's face and neck show delicate, soft edges—almost imperceptibly blended skin modeling that suggests living flesh without visible strokes. Her hair flows with warm, decisive brushwork; you can see individual lock directions rendered in reddish-golds over deeper brown undertones. The white dress employs crisp edge work on the fold lines but softer transitions on the curved forms showing the body beneath. Background elements dissolve into diffuse, barely-articulated brushwork; the floor rugs display linear, almost decorative strokes to suggest woven patterns without overworking.

a working sequence

01
Tone the canvas and establish darks
Mix a neutral warm brown (burnt umber + touch of ultramarine) and thin it with medium to create an even wash across the entire canvas. Once dry, block in the background wall and shadows with your darkest mixture (burnt umber + black + ultramarine). This dark ground will be your anchor; the figures will read brightly against it. Work loosely—you're establishing spatial depth, not detail.
02
Establish light masses and composition
Block in the standing girl's silhouette with a light tan (titanium white + yellow ochre). Lay in the seated child's darker form and the floor's warm ochre-to-tan patches. Do not model yet—this is an underpainting. Squint constantly to verify your value masses read correctly; the standing girl should glow against the dark, and the floor should sit between the figures and background in value.
03
Paint the standing girl's face and head
This is the focal point—invest time here. Begin with a mid-tone skin base (yellow ochre + cadmium red + titanium white + touch of burnt umber). Model the cheek, jawline, and neck with slightly warmer and cooler passages; the forehead and bridge of nose catch more light. Her reddish-golden hair requires a base of cadmium red + yellow ochre, then layer darker reddish-browns (cadmium red + burnt umber) for shadow and depth. Keep edges soft; let strokes follow the direction of hair growth. Her expression is calm and direct—subtle eye work is essential; place the pupils carefully and add just a touch of highlight to suggest living attention.
04
Render the white dress with form
The dress appears white but is actually a warm cream with subtle modeling. Mix a warm off-white (titanium white + tiny touch of yellow ochre + cadmium red). Paint the dress's major folds using slightly warmer cream in shadow areas and cooler, nearly-white passages on surfaces catching direct light. The sleeves have soft cylindrical form—use warmer cream on the underside, cooler on top. Work in layers to avoid a flat, poster-like appearance. The lower hem and folds show hints of warm shadow using the tan palette.
05
Develop the seated child and dark clothing
Block in the seated child's face using a similar approach as the standing girl but keep this figure more modest in detail—it's supporting cast. Their brown clothing (cadmium red + burnt umber + yellow ochre) sits in mid-value shadow. Show the book or fabric they hold with careful edge work and subtle folds. This figure should read clearly but rest visually in the standing girl's shadow; use slightly less saturated colors and softer modeling than the focal figure.
06
Paint the floor patterns and rugs
The woven floor is crucial compositionally. Use warm yellows, tans, and reddish-browns (yellow ochre, cadmium red, burnt sienna, titanium white in various combinations) to suggest geometric and textile patterns. Show texture through linear brushwork—thin, parallel strokes to indicate weave direction. The geometric patterns near the left foreground are most defined; soften the pattern as it recedes. Keep this area warm and inviting; it grounds the figures and creates spatial recession.
07
Suggest background furniture and architecture
The background is deliberately obscure—barely a bench, chair back, and an arched form suggested in warm and cool dark browns. Use a slightly lighter value (touch more ultramarine mixed in to cool the shadows) to hint at form without clarity. Paint loosely; the furniture should feel present but shadowed, not confused with walls. A thin line of lighter warm brown can suggest the back of a bench. Restraint here preserves the drama.
08
Refine edges, fine-tune values, and unify
Step back and assess: Is the standing girl's face convincing? Do the values still sing—dark background, bright dress, warm floor? Soften any hard edges in unexpected places, particularly where values are close (dress to background). A very fine glaze of cool tone over select background areas can enhance recession. Minor adjustments to dress folds and hair detail now. Final touches to floor pattern if needed—add one or two crisp woven details to suggest texture without overworking. The painting is complete when the girl's presence feels alive and the interior settles into a lived-in depth.

where studies of this painting go wrong

The standing girl's face is your entire painting—a stiff or unconvincing expression, flat cheeks, or clumsy eye work will destroy the contemplative intimacy. Skin modeling must be subtle; resist the urge to overdraw or outline features.
The white dress looks simple but is a trap: pure white on white is invisible, and muddy modeling makes it look gray. Keep it warm-cream in shadow, cool-cream in light, and remember the subtle turn of form through the sleeves and bodice.
The background is deliberately dim—but if it becomes a featureless black void, the spatial depth collapses. Hint at furniture with barely-perceptible warm and cool tones; the viewer's eye should sense presence rather than see it clearly.
The reddish-golden hair can easily turn carrot-orange if cadmium red dominates. Use yellow ochre as your base, layer cadmium red carefully, and anchor shadows with burnt umber or deep alizarin to keep it naturalistic and luminous.
Overworking the floor patterns destroys the quiet mood. Suggest woven texture through restrained linear brushwork and value shifts; the geometric patterns should enhance composition, not compete with the figures for attention.

measured difficulty