plate no. 4996
Crucifixion
Jan Provoost, 1500
experienced study
Recreating this painting will help students develop skills in figure drawing, drapery rendering, and creating atmospheric perspective. It will also improve their understanding of color mixing to achieve realistic skin tones and fabric textures.
technical profile
palette complexity
4
brushwork visibility
3
value contrast
4
compositional simplicity
2
study guide
est. 30 hrsapproach — 8 steps
- step 01
Begin with a light sketch outlining the main figures and the cross.
- step 02
Establish the background landscape and sky with thin washes of color.
- step 03
Block in the main color masses for the figures and drapery.
- step 04
Develop the values and details in the figures, paying attention to anatomy and proportions.
- step 05
Refine the drapery folds and shadows to create a sense of volume.
- step 06
Add details to the background figures and landscape.
- step 07
Glaze over areas to unify the colors and create depth.
- step 08
Add final highlights and details to the figures and drapery.
color palette
primary · red ochre · ultramarine blue · titanium white · burnt umber
secondary · yellow ochre · ivory black · cadmium red light · raw sienna
Achieve skin tones by mixing white, red ochre, and a touch of burnt umber. Create atmospheric perspective by adding blue to distant colors.
techniques
- ·glazing
- ·scumbling
- ·chiaroscuro
- ·figure drawing
- ·drapery rendering
common pitfalls
- →Incorrect proportions of figures
- →Overly harsh or flat lighting
- →Lack of depth in the landscape
- →Inaccurate color mixing for skin tones
materials
surface · stretched canvas
required
- ·stretched canvas 18x24
- ·#2 round brush
- ·#6 flat brush
- ·red ochre oil paint
- ·ultramarine blue oil paint
- ·titanium white oil paint
- ·burnt umber oil paint
optional
- ·palette knife
- ·linseed oil
- ·damar varnish
- ·medium gloss
Use high-quality oil paints for best results. Consider using a toned canvas to simplify the initial stages.
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