apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Lawyer in His Study
Lawyer in His Study by Adriaen van Ostade

plate no. 0566

Lawyer in His Study

Adriaen van Ostade, 1637

oil, panelBaroqueportraitfigureportraitinteriorbookstablepapers
experienced study

Recreating this painting will help students develop skills in portraiture, particularly capturing likeness and rendering realistic skin tones, as well as understanding and applying chiaroscuro to create depth and drama.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Create a preliminary sketch outlining the basic composition, focusing on the placement of the figure, table, and background elements.

  2. step 02

    Establish the dark background tones with a thin wash of dark brown or black, gradually building up the darker areas.

  3. step 03

    Block in the main shapes of the figure with a mid-tone brown, paying attention to the proportions and pose.

  4. step 04

    Begin to develop the light and shadow on the face, using subtle gradations of color to create form.

  5. step 05

    Paint the details of the clothing, books, and other objects on the table, focusing on accurate rendering of textures and materials.

  6. step 06

    Refine the details of the face, adding highlights and shadows to create a realistic likeness.

  7. step 07

    Add the final details, such as the highlights on the paper and the subtle textures in the background.

  8. step 08

    Glaze with thin layers of color to unify the painting and enhance the depth and richness of the tones.

color palette

primary · burnt umber · ivory black · titanium white · yellow ochre

secondary · raw sienna · ultramarine blue · cadmium red light

Achieve the skin tones by mixing white, yellow ochre, and a touch of red. Darken the browns with black and blue. Use thin washes of color to create subtle gradations.

techniques

  • ·chiaroscuro
  • ·glazing
  • ·portraiture
  • ·underpainting
  • ·scumbling

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated or bright.
  • →Ignoring the subtle gradations of tone in the skin.

materials

surface · stretched canvas

required

  • ·stretched canvas (16x20 inches)
  • ·oil paints (burnt umber, ivory black, titanium white, yellow ochre)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·mahl stick

Use high-quality oil paints for best results. Consider using a toned canvas to help establish the initial value structure.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →chiaroscuro →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Girl with a Straw Hat

Girl with a Straw Hat

Judith Leyster

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Abraham Storck

Bathsheba Bathing

Bathsheba Bathing

Francesco Solimena

Repentant Peter

Repentant Peter

Guido Reni

Itinerant Musicians

Itinerant Musicians

Jacob Ochtervelt

Marie Christine

Marie Christine

Marcello Bacciarelli

Santa Cecilia E Due Angeli

Santa Cecilia E Due Angeli

Giulio Cesare Procaccini

Scene from the Life of Saint Benedict

Scene from the Life of Saint Benedict

Philippe de Champaigne