apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Crucifixion of Christ
Crucifixion of Christ by Lucas van Leyden

plate no. 7206

Crucifixion of Christ

Lucas van Leyden, 1520

oilNorthern Renaissancereligious paintingfigurereligiousarchitecturecolumncrownrope
experienced study

Recreating this painting will help students develop skills in figure drawing, chiaroscuro, and creating realistic skin tones. It also provides practice in rendering drapery and architectural elements.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, paying attention to proportions and placement of the figure.

  2. step 02

    Establish the main light source and map out the areas of light and shadow.

  3. step 03

    Begin with a thin underpainting using burnt umber to define the forms and values.

  4. step 04

    Gradually build up the skin tones using layers of color, blending carefully to create smooth transitions.

  5. step 05

    Paint the drapery, focusing on the folds and highlights to create a sense of volume.

  6. step 06

    Add details to the background architecture, using perspective to create depth.

  7. step 07

    Refine the facial features and add the crown of thorns.

  8. step 08

    Add final highlights and shadows to enhance the realism of the painting.

color palette

primary · raw umber · titanium white · yellow ochre

secondary · burnt sienna · ivory black · cadmium red light

Achieve skin tones by mixing white, yellow ochre, and a touch of red. Use burnt sienna and umber for shadows, and white with a hint of yellow for highlights. Mix black and umber for the darkest areas.

techniques

  • ·chiaroscuro
  • ·glazing
  • ·scumbling
  • ·portraiture
  • ·drapery studies

common pitfalls

  • →Incorrect proportions of the figure
  • →Muddy skin tones due to over-blending
  • →Flat or unrealistic drapery
  • →Ignoring the light source and creating inconsistent shadows

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·ivory black oil paint
  • ·#2 round brush
  • ·#6 flat brush

optional

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

Use a high-quality canvas and artist-grade oil paints for best results. Consider using a medium to thin the paints and improve blending.

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