apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Lucretia
Lucretia by Artemisia Gentileschi

plate no. 4764

Lucretia

Artemisia Gentileschi, 1642

oilTenebrismhistory paintingfiguredraperycolumninteriorhistoricalfemale
experienced study

Recreating this painting will help students develop skills in dramatic lighting (chiaroscuro) and rendering complex fabric folds. It also provides practice in depicting realistic skin tones and human anatomy in a dynamic pose.

technical profile

palette complexity
4
brushwork visibility
4
value contrast
5
compositional simplicity
3

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch outlining the main shapes: the figure, drapery, and architectural elements.

  2. step 02

    Establish the darkest areas of the painting using a dark brown or black.

  3. step 03

    Block in the mid-tones, focusing on the skin and the drapery, gradually building up the form.

  4. step 04

    Introduce highlights to create contrast and define the light source.

  5. step 05

    Refine the details of the face, hands, and fabric folds.

  6. step 06

    Pay close attention to the edges, softening some and sharpening others to create depth.

  7. step 07

    Add subtle color variations to the skin and drapery to enhance realism.

  8. step 08

    Glaze thin layers of color to unify the painting and create a sense of depth.

color palette

primary · burnt umber · raw sienna · titanium white · cadmium red

secondary · ultramarine blue · ivory black

Achieve the skin tones by mixing white, sienna, and a touch of red. Darken the shadows with burnt umber and a hint of blue. Create the drapery colors by mixing red with varying amounts of umber and white.

techniques

  • ·chiaroscuro
  • ·glazing
  • ·blending
  • ·scumbling
  • ·underpainting

common pitfalls

  • →Over-blending, which can flatten the forms.
  • →Ignoring the importance of the dark shadows.
  • →Getting the proportions of the figure wrong.
  • →Using too much paint in the initial layers.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·cadmium red oil paint
  • ·round brushes (various sizes)
  • ·flat brushes (various sizes)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·turpentine

Use a canvas with a smooth surface for easier blending. Consider using a toned canvas to establish the mid-tones from the start.

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

St. Simon

St. Simon

Georges de la Tour

St. Bartholomew

St. Bartholomew

Jusepe de Ribera

The Triangle Player

The Triangle Player

Georges de la Tour

Glowers in a sculpted vase on a stone plinth

Glowers in a sculpted vase on a stone plinth

Mario Nuzzi

St. Jerome

St. Jerome

Jusepe de Ribera

A Mother Entrusting Her Sons to Christ

A Mother Entrusting Her Sons to Christ

Mattia Preti

Adoration of the Magi in a wreath of flowers

Adoration of the Magi in a wreath of flowers

Mario Nuzzi

St. Philip

St. Philip

Jusepe de Ribera