HOW to create an IMPRESSIONIST painting | Rijksmuseum tutorial
Today, we’ll show you how to make a impressionist style painting.. by looking closely at George Hendrik Breitner. Welcome to RijksCreative.. in this course we’ll take you on a journey trough art history. We’ll show you the techniques of the old masters. From the Renaissance up to modern time. Let’s check in with our expert, Martine Gosselink! Hi Martine!
-Hello! Who was Breitner?
And why is his work so typical for his time? Breitner was a painter from Amsterdam, he worked during
the last quarter of the 19th century.. beginning 20th century, he was an impressionist. And you see that.. his rough brush strokes, you can see them
if you take a close look. These are typical for impressionism Breitner loved to work on the streets themselves.. for everyday life-scenes but he also had his interior studio.. where he painted Geesje Kwak many times. This is one of thirteen versions of a
girl in a Japanese kimono. Thanks Martine, let’s go to Lisanne! Hi Lisanne, I see you’ve already applied the under drawing,
what are you going to next? Now I’m going to apply the colors for the under modeling. And we’re starting with ocre. Raw sienna. Burned sienna. Raw umber. And burned umber. So the under modeling we apply nice and fast,
with a broad brush. And I’m starting to paint the colors and
then try to see through the details. So I’m looking at the true forms.
Umber. And raw umber. As always, the reference is in the description below. You can always make it darker.. so that’s why I start with a bit lighter
colors then that the colors actually are. You can always make it darker. I’m making it a little bit darker,
to add more contrast. This under modeling is enough for this state. I’m continuing with the next color which
is a combination of ocre and sienna. So you see I’m always starting with the darker color. I like to model my colors without black and white.. I’m going to add them later,
I just like to apply earth tones first. I’m modeling this cushion with a combination of brown colors.. in order to create some shadows and contrast. Alright, now we can start with the background. And funny enough, you see a black over here in the background. However, Breitner first started with painting a red paint.. so we’re going to do that too, because it shines a bit through.. So it works. I’m going to add a carmine red, an acrylic color. I paint with acrylic paints, because they
dry a little faster than the cobra paint. I’m mixing this carmine with a bit of ocre. Because this is slightly too pink. I still think it’s slightly too pink. So we can just paint on top of that. To add more tonal value. You can see real difference between the darker
part of the painting and the lighter part. It’s nice if you want to make a contrast in the kimono later. For the under modeling of her beautiful kimono,
we’re going to use several colors. We’re starting with zinc white. Raw sienna. Burned sienna. A lot of this beautiful color,
which is natural umber. Or raw umber. A little bit of this color which is burned umber. And last but not least: black. So now we’re going to start with
the under modeling of the kimono. Before you start, take a good look at your
reproduction or photo that you’re using.. and try to look through the details. What colors do you see over there? Well, those colors we’re going to
apply to the ground right now. So I’m starting with my umber, I like
to work from dark to light anyway. Here we go. Fifty shades of brown is what I like to call this part. Slightly lighter then this. Still brown. So these parts have been a little bit more brownish. Here it’s definitely a little bit more gray. So now we’re using the black.. and the white to create a color. That’s slightly more gray then we used. This color also comes back here. And the reason why I’m using zinc white instead
of titanium white.. is because zinc white is slightly less opaque. And that creates beautiful transitions in this piece. Here it’s slightly more brown again,
so we take our raw umber. But it’s lighter then we applied here,
so a lot of white is added. Here there’s a combination of brown and gray. Fast brush strokes don’t get into the details yet,
just show some tonality. So now we’re going to mix the color for the high light. And we’re going to use titanium white.. raw sienna.. raw umber.. and a burned umber. Now we’re going to apply the most important highlights. If you’ve applied the tonality quite right.. you only have to apply this highlights. If you didn’t do it right, take a little of your
water mixable oil paint.. and make parts darker that needs to be darker. But I’m going to apply highlights, I’m using a titanium
white because it’s slightly more opaque than a zinc white. And therefore quite suitable for a highlight. Of course the highlights are not just white,
they’re creme color So I’m going to apply a little bit of the raw sienna. Umber. And a bit of the burned umber. Let’s see if its white enough for our purpose. I’m looking at this part of the painting.. going to apply the highlight over there,
I think I need to make a little bit more dark. But let’s see, here we go. We’re impressionistic today so not too slow. Just take your brush and apply it quite quickly. A little bit more titanium white and a little
bit more yellow and a little bit more red. I need a orange tone over here. Push against the canvas. What that does it leaves you with this kind of marks. You see them here as well. This is a bit of a transition. Then there’s a little bit more here. Need a little bit more light over here
and a little bit more light over here. If some parts are too light, this is also
the time to adjust it. Now we’re going to this part again. And we’re going on to the other sleeve. Just use your own handwriting. It doesn’t have to be a Breitner,
it doesn’t have to be perfect.. as long as you can see it’s your handwriting. Now we continue with her body. So now we’re to make the pallet
for the details of her kimono. Using: whit, titanium white. Yellow. Transparent red. Oxide red. I’m going to get a carmine. A mader lake. Cobalt blue. Then a light blue. And a black. So for the next step, it’s very important.. to have your own flow with adding the decorations.. if you try to do it step by step and really copying it.. it won’t be as vivid as if you do it loosely. So that’s important. I like to start with the darker details. With darker small details I have to say. And what I also do, I try to decide for
myself what kind of form I’m looking at. For instance, well I’m calling this a ‘V’. And this I’m calling a falling butterfly. This I’m calling a rising bird. And to make the symbols into things,
or make those decorations into things.. it’s easier to paint them. These are clouds. Now we continue with the colors. I like to do the colors one by one. So all the reds, then all the blues. We start with the reds. Now let’s continue with the blues. For the blues we use this cobalt blue. Then the rest is beautiful blue,
especially here in this part. So I’m adding to my pallet now a burned umber.. and an ocre. I’m going to show you a couple of elements that
you’ll need to finish this painting yourself. So firstly, if you’re going to do the cushions.. remember that we’re working in a
impressionist method right now. So you can use loose touches. So now we’re going to make the background black,
like in the real painting. And you’ll see what a difference it makes! It will make the whole kimono light up.. and you’ll understand why Breitner made this choice. I did. Slightly bigger brush. Can you actually see what it does to the kimono? The kimono lights up against the dark contrast. You see the difference here. And now we’re continue with an interesting part. Breitner painted this kimono quite impressionistic
as we saw.. quite fast brush strokes, vivid brush strokes. in contrast he painted the the face and the arms.. quite smoothly, so to say. For the face, you can use a similar technique as the one.. Lisa showed you in her Rembrandt
episode about surface materials Lisanne will now be finishing the face.. and show you the steps to finish the painting yourself! So I showed you how to make a Breitner girl in kimono. Remember in the background you can add details like the ones.. used in the kimono itself. Make the left part of the painting a little bit darker
then the right part. So the right part will even pop up more. The cushions we applied in a impressionistic manner.. so really fast.
Continue with that technique. And in these banners you need a more refined technique.. just like in the face, you’ll need a smoother technique. I hope you can continue with that too,
we showed you how to do it! I’ll continue.
-Good luck, Lisanne. Thank you very much!