apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·A Monk in the Window
A Monk in the Window by Peter Fendi

plate no. 8487

A Monk in the Window

Peter Fendi, 1830

oil, paperBiedermeiergenre paintingmonkwindowseaskullchaircrucifix
some experience helpful

Recreating this painting will help students develop skills in glazing techniques and creating atmospheric perspective with a limited color palette. It also provides practice in rendering textures and details in low-light conditions.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Prepare a toned canvas with a warm brown underpainting.

  2. step 02

    Sketch the basic composition, focusing on the placement of the monk, window, and objects.

  3. step 03

    Block in the main areas of color: the sky, sea, monk's robe, and interior.

  4. step 04

    Develop the values and details of the monk's figure, paying attention to the light and shadow.

  5. step 05

    Add details to the objects in the foreground, such as the skull, book, and chair.

  6. step 06

    Glaze the painting with thin layers of color to create depth and atmosphere.

  7. step 07

    Add final highlights and details to the monk and the surrounding objects.

  8. step 08

    Varnish the painting to protect it and enhance the colors.

color palette

primary · burnt umber · raw sienna · titanium white

secondary · ultramarine blue · yellow ochre

Mix burnt umber and raw sienna for the warm browns, add white to lighten. Use ultramarine blue and white for the sky and sea, and mix yellow ochre with burnt umber for the highlights.

techniques

  • ·glazing
  • ·scumbling
  • ·dry brushing
  • ·atmospheric perspective
  • ·chiaroscuro

common pitfalls

  • →Overworking the details too early in the process.
  • →Using too much paint and losing the transparency of the glazes.
  • →Failing to create a sense of depth and atmosphere.
  • →Ignoring the subtle color variations in the shadows.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·yellow ochre oil paint
  • ·linseed oil
  • ·turpentine

optional

  • ·palette knife
  • ·medium gloss
  • ·retouch varnish

Use a fine-weave canvas to allow for smooth blending and glazing.

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

Samuel Aba

Samuel Aba

Josef Kriehuber

Not Married

Not Married

Charles Spencelayh

Maid with a Letter

Maid with a Letter

Peter Fendi

The Broken Leg

The Broken Leg

Charles Spencelayh

Arts and Science

Arts and Science

Carl Spitzweg

Antonio Tamburini, Italian Baritone

Antonio Tamburini, Italian Baritone

Josef Kriehuber

Lady portrait

Lady portrait

Peter Fendi

Resting on the Vine

Resting on the Vine

Carl Spitzweg