plate no. 8505
Bathsheba at Her Bath
Rembrandt van Rijn, 1654
experienced study
Students will develop advanced skills in chiaroscuro lighting, flesh tone mixing, and the challenging art of figure painting with subtle emotional expression.
technical profile
palette complexity
4
brushwork visibility
3
value contrast
5
compositional simplicity
3
study guide
est. 25 hrsapproach — 8 steps
- step 01
Begin with careful drawing of proportions and gesture on toned canvas
- step 02
Block in major shadow shapes using burnt umber and raw umber
- step 03
Establish the darkest darks in the background and deepest shadows
- step 04
Model the flesh tones starting with mid-tones, using warm ochres and siennas
- step 05
Add highlights to the skin using Naples yellow and titanium white mixtures
- step 06
Paint the white fabric with careful attention to reflected light and shadow
- step 07
Develop the rich textures of jewelry and decorative elements
- step 08
Refine edges and add final details to hair and facial features
color palette
primary · burnt umber · raw umber · Naples yellow · titanium white
secondary · burnt sienna · raw sienna · alizarin crimson · yellow ochre
Create flesh tones by mixing Naples yellow, burnt sienna, and white; add tiny amounts of alizarin for warmth in shadows
techniques
- ·chiaroscuro
- ·sfumato blending
- ·glazing
- ·impasto highlights
- ·warm/cool color temperature
common pitfalls
- →overworking flesh tones
- →making shadows too cool
- →losing form in dark areas
- →rushing the drawing stage
materials
surface · stretched canvas primed with warm gray or burnt umber underpainting
required
- ·stretched canvas 20x24
- ·#2 flat brush
- ·#6 flat brush
- ·#4 filbert brush
- ·burnt umber oil paint
- ·raw umber oil paint
- ·Naples yellow oil paint
- ·titanium white oil paint
- ·burnt sienna oil paint
optional
- ·palette knife
- ·glazing medium
- ·#1 liner brush
- ·alizarin crimson
Work on a toned surface to help judge values accurately; use quality brushes for smooth blending
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