apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Young Girl Meditating (study)
Young Girl Meditating (study) by Thomas Eakins

plate no. 8203

Young Girl Meditating (study)

Thomas Eakins, 1877

oil, canvasRealismportraitfigureportraitdresswomanhandsdark background
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing subtle expressions and using a limited palette to create depth and form. It also emphasizes the importance of value in creating a sense of light and shadow.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the figure on the canvas.

  2. step 02

    Block in the darkest areas of the background using a dark brown or black.

  3. step 03

    Establish the main light source and begin to define the highlights on the figure's face, dress, and hands.

  4. step 04

    Mix a range of mid-tones using burnt sienna, yellow ochre, and white to create the form of the figure.

  5. step 05

    Use visible brushstrokes to suggest the texture of the dress and the form of the figure.

  6. step 06

    Pay close attention to the subtle variations in value to create depth and dimension.

  7. step 07

    Refine the details of the face, paying attention to the eyes, nose, and mouth.

  8. step 08

    Add final highlights and shadows to enhance the sense of realism.

color palette

primary · burnt sienna · yellow ochre · titanium white

secondary · raw umber · ivory black

Mix burnt sienna and yellow ochre in varying proportions to achieve the warm tones of the dress. Add white to create highlights and raw umber or ivory black to create shadows.

techniques

  • ·chiaroscuro
  • ·alla prima
  • ·dry brushing
  • ·scumbling
  • ·limited palette

common pitfalls

  • →Overworking the details and losing the loose, painterly quality.
  • →Failing to establish a strong value structure.
  • →Using too many colors and creating a muddy effect.
  • →Ignoring the importance of edges and transitions.

materials

surface · stretched canvas

required

  • ·stretched canvas (12x16 or similar)
  • ·burnt sienna oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·raw umber oil paint
  • ·ivory black oil paint
  • ·assorted brushes (round and flat)
  • ·linseed oil

optional

  • ·palette knife
  • ·painting medium
  • ·varnish

Use a canvas with a smooth surface to allow for blending and subtle transitions. Consider using a medium to thin the paint and improve flow.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

Portrait of James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy