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home·artworks·Christ in the house of Marta and Maria
Christ in the house of Marta and Maria by Erasmus Quellinus the Younger

plate no. 1313

Christ in the house of Marta and Maria

Erasmus Quellinus the Younger

oil, canvasBaroquereligious paintingfiguresstill lifeinteriorfoodtablereligious
experienced study

Recreating this painting will help students develop skills in rendering complex compositions, capturing realistic textures of various objects, and understanding chiaroscuro lighting techniques.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch outlining the main figures and the still life arrangement.

  2. step 02

    Establish the overall composition and proportions, paying attention to the placement of objects and figures.

  3. step 03

    Apply a thin underpainting using burnt umber to define the shadows and create a tonal base.

  4. step 04

    Start building up the colors, beginning with the darkest areas and gradually adding highlights.

  5. step 05

    Focus on rendering the textures of the various objects, such as the fruits, vegetables, and fabrics.

  6. step 06

    Pay close attention to the light source and how it affects the forms and colors.

  7. step 07

    Refine the details and add finishing touches to bring the painting to life.

  8. step 08

    Apply a final glaze to unify the colors and enhance the overall effect.

color palette

primary · burnt umber · yellow ochre · titanium white · cadmium red

secondary · ultramarine blue · viridian green · raw sienna

Achieve the rich, warm tones by mixing burnt umber with yellow ochre and small amounts of cadmium red. Use ultramarine blue and viridian green sparingly to create cool shadows and highlights.

techniques

  • ·chiaroscuro
  • ·glazing
  • ·scumbling
  • ·alla prima
  • ·underpainting

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong tonal foundation.
  • →Ignoring the effects of light and shadow on the forms.
  • →Using colors that are too saturated or unrealistic.

materials

surface · stretched canvas

required

  • ·stretched canvas (18x24 inches)
  • ·oil paints (burnt umber, yellow ochre, titanium white, cadmium red, ultramarine blue, viridian green, raw sienna)
  • ·linseed oil
  • ·turpentine
  • ·palette
  • ·assorted brushes (round, flat, filbert)
  • ·palette knife

optional

  • ·retouch varnish
  • ·dammar varnish
  • ·painting medium

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

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related guides

oil painting for beginners →chiaroscuro →how to learn by studying the masters →
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