plate no. 8409

Violets for Perfume

Henry Herbert La Thangue, 1913

oilImpressionismgenre paintingfigurevioletsarchitecturedonkeylandscapebasket

some experience helpful

Recreating this painting will help students develop skills in depicting figures in natural light and rendering textures using broken color techniques. It provides an opportunity to practice capturing the effects of light filtering through foliage and architecture.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 20 hrs

approach — 8 steps

step 01
Begin with a light sketch outlining the main shapes and composition, focusing on the placement of the figure, architecture, and donkey.
step 02
Establish the overall color scheme by blocking in the large areas of color, such as the ground, walls, and foliage, using thin washes.
step 03
Develop the figure, paying attention to the folds of the clothing and the way light interacts with the fabric.
step 04
Add details to the architecture, focusing on the play of light and shadow on the columns and overhead structure.
step 05
Introduce the violets, using small, broken brushstrokes to create texture and depth.
step 06
Refine the background elements, including the donkey and the landscape, using a looser, more impressionistic style.
step 07
Adjust the values and colors throughout the painting to create a sense of atmosphere and depth.
step 08
Add final highlights and details to bring the painting to life.

color palette

primary · raw umber · burnt sienna · cadmium red · titanium white

secondary · ultramarine blue · yellow ochre · sap green

Achieve the violet hues by mixing ultramarine blue with cadmium red and a touch of white. Create the warm, earthy tones by blending burnt sienna, raw umber, and yellow ochre.

techniques

·broken color
·scumbling
·glazing
·chiaroscuro
·alla prima

common pitfalls

→Overworking the details, which can lead to a stiff and unnatural look.
→Failing to establish a strong value structure, which can result in a flat and uninteresting painting.
→Ignoring the effects of light and shadow, which can diminish the sense of depth and atmosphere.
→Using colors that are too saturated, which can create a jarring and unrealistic effect.

materials

surface · stretched canvas

required

·stretched canvas (18x24 inches)
·oil paints (raw umber, burnt sienna, cadmium red, titanium white, ultramarine blue, yellow ochre, sap green)
·palette
·assorted brushes (round, flat, filbert)
·linseed oil
·turpentine
·palette knife