apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Innocence Preferring Love to Wealth
Innocence Preferring Love to Wealth by Pierre-Paul Prud'hon

plate no. 3581

Innocence Preferring Love to Wealth

Pierre-Paul Prud'hon, 1804

oil, canvasNeoclassicismallegorical paintingfigureslandscapebuildingallegorytreesmythology
experienced study

Recreating this painting will help students develop skills in figure drawing, drapery rendering, and creating atmospheric perspective in a landscape. It will also improve their understanding of color mixing for skin tones and subtle gradations.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Create a preliminary sketch outlining the composition and proportions of the figures and landscape.

  2. step 02

    Block in the main shapes and colors of the background, focusing on establishing the atmospheric perspective.

  3. step 03

    Begin to build up the forms of the figures, paying close attention to anatomical accuracy and proportions.

  4. step 04

    Develop the drapery folds and shadows, using a limited palette to create a sense of depth and volume.

  5. step 05

    Refine the facial features and expressions of the figures, using subtle highlights and shadows.

  6. step 06

    Add details such as the jewelry, the box, and the cupid's bow and arrow.

  7. step 07

    Glaze the painting with thin layers of color to unify the composition and create a sense of luminosity.

  8. step 08

    Add final highlights and shadows to enhance the overall effect.

color palette

primary · titanium white · raw umber · cadmium red light · ultramarine blue

secondary · yellow ochre · ivory black · burnt sienna

Skin tones are achieved by mixing white, red, yellow ochre, and a touch of umber. Greens are created by mixing blue and yellow ochre, with umber added for darker shades. Atmospheric perspective is achieved by adding white and blue to the colors of the background.

techniques

  • ·figure drawing
  • ·drapery rendering
  • ·atmospheric perspective
  • ·glazing
  • ·chiaroscuro

common pitfalls

  • →Incorrect proportions of figures
  • →Overly harsh or muddy colors
  • →Lack of atmospheric perspective
  • →Poor blending of skin tones

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·raw umber oil paint
  • ·cadmium red light oil paint
  • ·ultramarine blue oil paint
  • ·round brushes sizes 2, 4, and 6
  • ·linseed oil
  • ·palette

optional

  • ·palette knife
  • ·medium gloss
  • ·turpentine

Use high-quality oil paints for best results. A medium-grain canvas will provide a good surface for this painting.

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

Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Marie-Gabrielle Capet

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

Giovanni Battista Piranesi

Portrait of Louis d'Orleans

Portrait of Louis d'Orleans

Franz Xaver Winterhalter

Rooftops in the shadows

Rooftops in the shadows

Pierre-Henri de Valenciennes

The Schmadribach Falls

The Schmadribach Falls

Joseph Anton Koch

A Scene from 'As You Like It' by William Shakespeare

A Scene from 'As You Like It' by William Shakespeare

William Hamilton

Portrait of Klementyna Ostrowska Née Sanguszko

Portrait of Klementyna Ostrowska Née Sanguszko

Vincenzo Camuccini

Self-Portrait

Self-Portrait

Anton Raphael Mengs