apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·A Chemist in his Laboratory (A Philosopher giving a Lecture)
A Chemist in his Laboratory  (A Philosopher giving a Lecture) by Jean-Baptiste-Simeon Chardin

plate no. 2883

A Chemist in his Laboratory (A Philosopher giving a Lecture)

Jean-Baptiste-Simeon Chardin, 1734

oil, canvasRococogenre paintingfigurebooktableinteriorlaboratorystill life
some experience helpful

Recreating this painting will help students develop skills in rendering realistic skin tones and capturing the texture of different materials like fur, paper, and glass. It also provides practice in creating a sense of depth and atmosphere through subtle value shifts.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes and composition, focusing on proportions and placement.

  2. step 02

    Establish the background with thin washes of color, paying attention to the light source.

  3. step 03

    Block in the main areas of color for the figure, table, and objects on the shelf.

  4. step 04

    Begin layering and blending colors to create form and depth in the figure's face and clothing.

  5. step 05

    Add details to the book, quill, and other objects, focusing on accurate rendering of their shapes and textures.

  6. step 06

    Refine the lighting and shadows throughout the painting, paying attention to the subtle value shifts.

  7. step 07

    Add final highlights and details to create a sense of realism.

  8. step 08

    Glaze with thin layers of color to unify the painting and enhance the overall atmosphere.

color palette

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

secondary · ultramarine blue · yellow ochre · ivory black

Achieve the skin tones by mixing raw sienna, burnt umber, cadmium red, and titanium white. Use ultramarine blue and burnt umber to create the darker shadows and the green tint in the curtain.

techniques

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

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors straight from the tube without mixing.
  • →Ignoring the subtle color variations in the shadows.

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·cadmium red oil paint
  • ·ultramarine blue oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a medium-tooth canvas for best results. Consider using a toned ground to help establish the overall color harmony.

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

Louis XV, King of France

Louis XV, King of France

Charles-Andre van Loo (Carle van Loo)

William James

William James

Joshua Reynolds

Wooded Landscape with Gypsies, Evening

Wooded Landscape with Gypsies, Evening

George Lambert

Head of a Scholar

Head of a Scholar

Giovanni Domenico Tiepolo

Gentleman and Wife

Gentleman and Wife

William Williams

Portrait of Antoine Watteau

Portrait of Antoine Watteau

Rosalba Carriera

Portrait of Henriette of France, daughter of Louis XV

Portrait of Henriette of France, daughter of Louis XV

Jean-Étienne Liotard

Mr. John Williams

Mr. John Williams

Benjamin West