apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Calvary
Calvary by Matthias Grünewald

plate no. 9814

Calvary

Matthias Grünewald, 1508

oil, woodNorthern Renaissancereligious paintingcrucifixionfiguresreligious scenecrossarmor
experienced study

Recreating this painting will help students develop skills in figure drawing, rendering drapery, and creating a dramatic atmosphere through value and color. It will also provide experience in capturing emotional expression in the figures.

technical profile

palette complexity
3
brushwork visibility
3
value contrast
4
compositional simplicity
2

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch of the overall composition, focusing on the placement and proportions of the figures and the cross.

  2. step 02

    Establish the dark background using a mix of browns and blacks, creating a sense of depth.

  3. step 03

    Block in the main shapes of the figures with simplified color masses, paying attention to the light and shadow areas.

  4. step 04

    Start building up the details of the figures, focusing on the faces and hands to convey emotion.

  5. step 05

    Render the drapery with careful attention to the folds and highlights, using a combination of blending and layering.

  6. step 06

    Paint the armor with metallic colors, adding highlights and shadows to create a sense of realism.

  7. step 07

    Refine the details of the cross and the surrounding landscape, adding texture and depth.

  8. step 08

    Add final glazes to unify the painting and enhance the colors.

color palette

primary · ivory black · raw umber · burnt sienna · titanium white

secondary · cadmium red · yellow ochre · Prussian blue

Achieve the skin tones by mixing white, raw umber, and a touch of red. Create the dark background by blending black, raw umber, and a hint of blue. Mix the metallic colors for the armor using white, black, and a touch of yellow ochre.

techniques

  • ·underpainting
  • ·glazing
  • ·chiaroscuro
  • ·figure drawing
  • ·drapery rendering

common pitfalls

  • →Incorrect proportions of the figures
  • →Overblending the colors, resulting in a muddy appearance
  • →Failing to capture the emotional expression of the figures
  • →Inaccurate rendering of the drapery folds

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·cadmium red oil paint
  • ·yellow ochre oil paint
  • ·assorted brushes

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use high-quality oil paints for best results. Consider using a toned canvas to create a more unified underpainting.

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

Aristotle

Aristotle

Justus van Gent

The Man of Sorrows with the Virgin Mary and St. John the Evangelist

The Man of Sorrows with the Virgin Mary and St. John the Evangelist

Martin Schongauer

The pride of the beggar sitting on the train of haughtiness

The pride of the beggar sitting on the train of haughtiness

Albrecht Altdorfer

Adoration of the Magi

Adoration of the Magi

Quentin Matsys

Christ on the Cross

Christ on the Cross

Albrecht Altdorfer

Frühling - Das Bereiten Der Blumenbeete

Frühling - Das Bereiten Der Blumenbeete

Pieter Brueghel the Younger

Group of Men

Group of Men

Rogier van der Weyden

Madonna and Child Holding a Pear

Madonna and Child Holding a Pear

Bernard Van Orley