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Meditation by Meyer von Bremen

plate no. 6147

Meditation

Meyer von Bremen, 1880

oil, canvasAcademicismgenre paintingfigurerockslandscapeskyfoliagesea
some experience helpful

Recreating this painting will help students develop skills in rendering realistic figures and drapery, as well as creating atmospheric perspective in a landscape. Students will also learn to mix subtle skin tones and create a sense of depth through value changes.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure and the major landscape elements.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber or a similar earth tone.

  3. step 03

    Block in the main colors of the sky, sea, rocks, and foliage, paying attention to the atmospheric perspective.

  4. step 04

    Begin to refine the figure, starting with the larger shapes of the clothing and then moving on to the details of the face and hands.

  5. step 05

    Add details to the landscape, such as the texture of the rocks and the individual leaves of the trees.

  6. step 06

    Refine the lighting and shadows throughout the painting, paying attention to the direction of the light source.

  7. step 07

    Add final details, such as the flowers in the figure's lap and the highlights in the sky.

  8. step 08

    Glaze with thin layers to unify the colors and add depth.

color palette

primary · burnt umber · titanium white · yellow ochre · alizarin crimson

secondary · ultramarine blue · raw sienna · cadmium yellow

Mix skin tones with white, yellow ochre, and a touch of alizarin crimson. Create atmospheric perspective by adding blue and white to the colors as they recede into the distance.

techniques

  • ·underpainting
  • ·glazing
  • ·scumbling
  • ·blending
  • ·atmospheric perspective

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Ignoring the atmospheric perspective.
  • →Using colors that are too saturated.
  • →Getting the proportions of the figure wrong.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·alizarin crimson oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·ultramarine blue oil paint
  • ·raw sienna oil paint

Use a medium-grain canvas for best results. Consider using a toned canvas to speed up the underpainting process.

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