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home·artworks·Death of the Virgin
Death of the Virgin by Hugo van der Goes

plate no. 4147

Death of the Virgin

Hugo van der Goes, 1470

oil, panelNorthern Renaissancereligious paintingfiguresreligious scenedeathangelshalointerior
experienced study

Recreating this painting will help students develop skills in rendering complex figure arrangements, drapery, and creating a sense of depth through atmospheric perspective and subtle value shifts.

technical profile

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

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figures and the bed.

  2. step 02

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

  3. step 03

    Begin painting the background, starting with the darkest areas and gradually adding lighter tones.

  4. step 04

    Paint the figures, starting with the underpainting and gradually building up the layers of color.

  5. step 05

    Pay close attention to the drapery, using highlights and shadows to create a sense of volume.

  6. step 06

    Add details to the faces and hands, capturing the expressions and gestures of the figures.

  7. step 07

    Paint the halo and the angels in the upper part of the composition, using soft, blended brushstrokes.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

primary · ultramarine blue · crimson red · ivory black · titanium white

secondary · yellow ochre · burnt umber · viridian

Mix various shades of blue and red with white to create the drapery colors. Use burnt umber and yellow ochre for skin tones, adding white for highlights and black for shadows. Mix viridian with other colors to create muted greens.

techniques

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

common pitfalls

  • →Getting the proportions of the figures wrong.
  • →Failing to create a sense of depth.
  • →Overworking the details.
  • →Not paying enough attention to the light source.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints (ultramarine blue, crimson red, ivory black, titanium white, yellow ochre, burnt umber, viridian)
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·retouch varnish
  • ·medium (e.g., Liquin)

Use high-quality oil paints for best results. Consider using a toned canvas to help establish the overall color scheme.

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