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home·artworks·An offertory candle
An offertory candle by Théodore Ralli

plate no. 0830

An offertory candle

Théodore Ralli

oil, canvasOrientalismgenre paintingfigurecandlesinteriorclothinglightyarn
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly capturing subtle skin tones and rendering the effects of candlelight. It also provides practice in depicting fabric textures and creating a sense of depth through atmospheric perspective.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure and the candles.

  2. step 02

    Establish the overall dark background using a thin wash of burnt umber and black.

  3. step 03

    Block in the main shapes of the figure, including the face, clothing, and hands.

  4. step 04

    Begin layering in the skin tones, using a limited palette of white, yellow ochre, and a touch of red.

  5. step 05

    Paint the candles and the light they cast, paying attention to the warm and cool tones.

  6. step 06

    Add details to the clothing, such as the fur trim and the patterns on the fabric.

  7. step 07

    Refine the facial features, focusing on capturing the likeness and expression.

  8. step 08

    Add final highlights and shadows to create depth and dimension.

color palette

primary · burnt umber · ivory black · titanium white · yellow ochre

secondary · cadmium red light · ultramarine blue · raw sienna

Achieve skin tones by mixing white, yellow ochre, and a touch of red. Use burnt umber and black to create the dark background and shadows. Mix ultramarine blue with burnt umber for the blue clothing.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·portraiture
  • ·rendering light

common pitfalls

  • →Overworking the skin tones, resulting in a flat or lifeless appearance.
  • →Failing to capture the subtle variations in light and shadow.
  • →Ignoring the importance of atmospheric perspective, making the background appear too sharp.
  • →Getting lost in details too early, before establishing the overall composition and values.

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·oil paints (burnt umber, ivory black, titanium white, yellow ochre, cadmium red light, ultramarine blue, raw sienna)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use high-quality oil paints for best results. Allow each layer to dry before applying the next.

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