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home·artworks·Our Lady of the Dry Tree
Our Lady of the Dry Tree by Petrus Christus

plate no. 5450

Our Lady of the Dry Tree

Petrus Christus, 1450

oil, panelNorthern Renaissancereligious paintingfigurereligioustreeinfantdraperysymbolism
some experience helpful

Recreating this painting will help students develop skills in rendering realistic drapery folds and creating a sense of depth through careful value control in a dark environment. It also provides practice in painting figures with accurate proportions and subtle skin tones.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Prepare the canvas with a dark ground (e.g., burnt umber wash).

  2. step 02

    Lightly sketch the main figures (Mary and the infant) and the tree structure.

  3. step 03

    Block in the main colors of the figures' robes and skin tones using thin washes.

  4. step 04

    Begin building up the values in the drapery, focusing on the highlights and shadows to create form.

  5. step 05

    Refine the facial features and details of the figures, paying attention to the subtle transitions in skin tone.

  6. step 06

    Paint the tree branches, gradually adding details and the hanging symbols.

  7. step 07

    Adjust the overall values and colors to create a harmonious composition.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

primary · red ochre · ivory black · raw umber · titanium white

secondary · Prussian blue · yellow ochre · gold

Achieve the subtle skin tones by mixing white, red ochre, and a touch of raw umber. The drapery colors are achieved by layering washes of red ochre and ivory black. The gold is achieved by mixing yellow ochre and raw umber.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·underpainting
  • ·layering

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to create a strong sense of depth in the dark background.
  • →Inaccurate proportions of the figures.
  • →Using colors that are too bright or saturated.

materials

surface · stretched canvas

required

  • ·Stretched canvas
  • ·Oil paints (red ochre, ivory black, raw umber, titanium white, Prussian blue, yellow ochre)
  • ·Linseed oil
  • ·Odorless mineral spirits
  • ·Assorted brushes (small round, small flat, medium flat)
  • ·Palette
  • ·Palette knife
  • ·Rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

A smooth canvas surface will allow for easier blending and glazing. Consider using a pre-primed canvas or applying several layers of gesso.

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