Founding act of the Municipal Savings Bank of Vitoria in 1850

A formal indoor ceremony unfolds in a grand room with soaring red curtains framing the space. Dramatic lighting enters from a bright window on the left, illuminating a warm honey-gold floor that anchors the composition. The eye moves from the brightly lit window across the crowd of darkly-clothed figures clustered in the center-middle ground, then to the elevated podium on the right where a figure stands in ceremonial focus. A curved architectural dome or arch crowns the composition in deep blue-gray, creating a sense of architectural containment. The warmth of the floor contrasts sharply with the cool shadows and burgundy drapery, creating depth and ceremony.

The painting employs a dramatic three-value system: the brightest lights are the window (left) and the illuminated podium (right), both nearly white; the mid-tones are the warm orange-gold floor and the complex burgundy-to-shadow gradations in the curtains; the darkest darks pool in the shadows of the crowd and the deep architectural recesses above. When squinting, the composition simplifies into a bright left edge, a dark clustered mass in the middle, and a bright focal point on the right—this strong value armature carries the entire scene. The floor's warm glow is distinctly lighter than the shadowed figures standing upon it, creating atmospheric lift.

• #b08271

  burnt sienna + titanium white + touch of ultramarine

  The floor in the lit areas, creating the warm honey-gold foundation that recedes toward the background

• #7c5151

  burnt sienna + alizarin crimson + ultramarine

  Mid-tone burgundy in the curtain folds and shadows, bridging the bright reds and deep darks

• #5a3541

  alizarin crimson + ultramarine + burnt sienna

  Deeper wine-red tones in the shadowed curtain areas and the darkest folds

• #281a2a

  ultramarine + alizarin crimson + ivory black

  Very dark burgundy-brown in the deepest shadows of fabric and in figure silhouettes

• #0c0d1f

  ultramarine blue + ivory black

  Nearly black in the uppermost architectural recess and the deepest shadows of the dome

The curtains are rendered with energetic, linear brushstrokes that follow the direction of the hanging folds—notice how the vertical strokes emphasize the fabric's weight and drape. The figures are treated expressionistically with soft, integrated edges where they merge with shadow; their silhouettes are not outlined but suggested through value contrast. The floor is painted with horizontal to diagonal strokes that reinforce perspective and create a sense of movement; individual brushstrokes remain visible, particularly in the lit portions. The architectural dome features smooth, curved strokes that suggest the molding's geometry without rendering it literally.

1. 01

   Tonal Underpainting

   Using burnt sienna thinned with linseed oil, establish the entire composition's value structure. Block in the warm floor as a mid-to-light wash, the shadowed gathered figures as a darker mass in the center, and the bright window and podium areas as the lightest shapes. Keep this loose and gestural—you're mapping light, shadow, and the architectural cage of the room.

2. 02

   Architectural Framework

   In ultramarine blue and ivory black, establish the curved dome and the architectural lines that define the room's structure. Paint the tall vertical lines that suggest the pilasters or wall divisions between the curtains. The dome's curve should feel substantial but not overly detailed; use your size-6 brush to suggest form rather than describe it precisely.

3. 03

   Curtain Masses and Values

   Block in the red curtains with a mix of alizarin crimson and cadmium red, establishing the bright lit portions and the shadowed folds. Where curtains catch light (particularly on the right and upper portions), keep the color clearer and lighter. Where they recede into shadow (the deep folds and overlaps), add ultramarine and burnt sienna to darken and cool them. Work with broad strokes; the vertical rhythm should feel natural, not mechanical.

4. 04

   Floor Perspective and Warmth

   Refine the floor with cadmium red ochre or burnt sienna mixed with titanium white, laying down warm golden-orange tones. The floor nearest you (foreground) should feel slightly warmer and have more distinct brushwork. As it recedes toward the far wall, cool it slightly with touches of ultramarine and make strokes smaller and more horizontal. The edge where the floor meets the shadowed figures should be softly defined, not hard.

5. 05

   Figure Silhouettes and Shadows

   With ultramarine blue, ivory black, and touches of alizarin crimson, paint the gathered crowd as a unified dark mass. Don't paint individual figures yet—instead, suggest the collective form of standing and seated attendees. Vary the edge quality: some figures have harder edges where they meet the lit floor, others soften where they blend into deeper shadow. Leave the brightest floor areas visible through gaps between figures.

6. 06

   Light Sources and Atmospheric Effect

   Using titanium white with touches of cadmium yellow, brighten the window on the left and the podium/altar area on the right. These should be nearly white or very pale cream. Add a subtle warm glow around the lit floor area—a thin glaze of ochre or cadmium red over the white helps create the impression of light bouncing off the polished floor. This is where the expressionistic energy of the piece emerges.

7. 07

   Refine Curtain Folds and Details

   Using your smaller brushes (sizes 2 and 4), define the vertical folds in the curtains with darker accents and highlights. The shadows within each fold should be a complex mix: ultramarine with alizarin, never pure black. Add cadmium red highlights to some fold edges to suggest the fabric's silk-like quality. Observe how light catches certain folds differently based on their orientation.

8. 08

   Figure Refinement and Spatial Integration

   With dark mixtures (ultramarine + ivory black + touch of alizarin), begin suggesting individual figures within the crowd—their hats, shoulders, the angle of a coat. Paint loose brushstrokes that suggest posture and gesture; don't render complete anatomical detail. Some figures should feel closer (slightly larger, slightly more defined) while others recede into the shadow. Ensure figures feel anchored to the floor and integrated into the atmospheric space, not floating.

9. 09

   Atmospheric Unity and Final Adjustments

   Step back and assess the overall atmospheric effect. Add a thin, warm glaze (burnt sienna + linseed oil) across the middle-ground to unify the shadowed figures and suggest atmospheric haze. Ensure the curtains feel like they're in the same spatial envelope as the figures and floor. Soften any edges that feel too crisp. The final painting should feel like one coherent moment of ceremony, not a collection of separately rendered elements.

• The floor's warm orange tone is seductive and easy to overstate—resist the urge to make it uniformly bright. It must recede in value and temperature as it approaches the far wall to maintain spatial depth.
• The red curtains vary dramatically in value from brilliant highlights to deep wine shadows. Painting them as a single red throughout will flatten the composition; invest time in mixing the full range of reds and ensuring shadow areas read as intentional depth, not just lack of light.
• The clustered figures can easily become a muddled brown mass if you don't maintain clear value separation within the crowd. Keep some figures distinctly darker and others slightly lighter to suggest volume and three-dimensionality; resist averaging everything to mid-tone.
• The bright window and podium are focal points, but they can read as holes in the composition if not handled with atmospheric subtlety. Ensure they're bright but not stark; they should feel like light affecting the space, not like unpainted canvas.

beginner friendliness

value contrast

palette complexity

compositional simplicity

brushwork visibility