apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Young Breton (The Little Knitter)
Young Breton (The Little Knitter) by Paul Serusier

plate no. 4053

Young Breton (The Little Knitter)

Paul Serusier, 1896

oil, canvasPost-Impressionismgenre paintingfigureportraitknittingdresscapindoor
some experience helpful

Recreating this painting will help students understand how to use a limited palette to create a sense of depth and atmosphere. It also provides practice in rendering fabric and skin tones using subtle variations in value and color.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the figure's pose and proportions.

  2. step 02

    Establish the background with dark, muted tones, blending colors to create a sense of depth.

  3. step 03

    Block in the main shapes of the figure, including the dress, cap, and skin tones.

  4. step 04

    Begin to refine the details of the face, paying attention to the subtle shifts in value and color.

  5. step 05

    Add details to the hands and knitting, focusing on the texture and form.

  6. step 06

    Develop the folds and shadows in the dress, using a combination of blending and layering.

  7. step 07

    Refine the edges of the figure and objects to create a sense of depth and separation.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · burnt umber · ivory black · titanium white

secondary · ultramarine blue · yellow ochre

Mix burnt umber and ivory black for the dark background and shadows. Use titanium white to lighten the skin tones and dress. Mix ultramarine blue and burnt umber for the blueish tones in the dress. Add yellow ochre to white for the skin tones.

techniques

  • ·underpainting
  • ·glazing
  • ·scumbling
  • ·blending
  • ·chiaroscuro

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated or bright.
  • →Losing the sense of atmosphere and depth.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·yellow ochre oil paint
  • ·linseed oil
  • ·round brushes (#2, #4, #6)

optional

  • ·palette knife
  • ·turpentine
  • ·medium gloss

Use a medium-grain canvas for best results. Consider using a toned canvas to establish a base color.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →color theory for painters →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

The Dinner Party

The Dinner Party

Jules-Alexandre Grun

La Fleuriste

La Fleuriste

Le Pho

Family on Vacation

Family on Vacation

Roman Selsky

Old wooden cottage in the snow

Old wooden cottage in the snow

Alfred Freddy Krupa

Paris Street

Paris Street

Maurice Utrillo

Grand bouquet of mimosa

Grand bouquet of mimosa

Moise Kisling

Versailles

Versailles

Alexandre Benois

Autumn Landscape with Birches

Autumn Landscape with Birches

Konstantin Gorbatov