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home·artworks·Woman Standing Near a Pond
Woman Standing Near a Pond by Edward Mitchell Bannister

plate no. 0001

Woman Standing Near a Pond

Edward Mitchell Bannister, 1880

oilTonalismlandscapetreespondlandscapefigureskygrass
some experience helpful

Recreating this painting will help students develop skills in atmospheric perspective and creating depth through layering of tones. Students will also practice mixing subtle variations of greens and browns to depict foliage.

technical profile

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

study guide

est. 10 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the trees, pond, and figure.

  2. step 02

    Establish the sky with broad strokes, blending light and dark grays and blues.

  3. step 03

    Block in the large shapes of the trees using dark greens and browns, paying attention to the overall form.

  4. step 04

    Add layers of lighter greens and yellows to the foliage to create highlights and variations.

  5. step 05

    Paint the pond with reflections of the sky and surrounding trees, using horizontal brushstrokes.

  6. step 06

    Define the path and grassy areas with textured brushstrokes, varying the colors and values.

  7. step 07

    Add the figure, keeping it simple and in proportion to the landscape.

  8. step 08

    Refine details and adjust values to create depth and atmosphere.

color palette

primary · viridian green · burnt umber · titanium white

secondary · yellow ochre · ultramarine blue · raw sienna

Mix greens by combining viridian green with yellow ochre and burnt umber for darker shades. Use titanium white to lighten the greens and create highlights. Mix blues and grays for the sky.

techniques

  • ·layering
  • ·dry brushing
  • ·atmospheric perspective
  • ·scumbling
  • ·tonal blending

common pitfalls

  • →Overworking the details and losing the overall atmospheric effect.
  • →Using too much bright green and not enough muted tones.
  • →Failing to create a sense of depth through value changes.
  • →Making the figure too prominent and distracting from the landscape.

materials

surface · stretched canvas

required

  • ·stretched canvas 12x16
  • ·oil paints (viridian green, burnt umber, titanium white, yellow ochre, ultramarine blue, raw sienna)
  • ·palette
  • ·palette knife
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·odorless mineral spirits
  • ·rags

optional

  • ·medium gloss
  • ·easel
  • ·mahl stick

Use a limited palette to achieve color harmony. Consider using a toned canvas to establish a base color.

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