apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Pylades and Orestes Brought as Victims before Iphigenia (detail)
Pylades and Orestes Brought as Victims before Iphigenia (detail) by Benjamin West

plate no. 2562

Pylades and Orestes Brought as Victims before Iphigenia (detail)

Benjamin West

oil, canvasNeoclassicismmythological paintingfiguresmenrobesarchitecturespearsmythology
experienced study

Recreating this painting will help students develop skills in figure drawing, anatomy, and rendering realistic skin tones. It also provides practice in creating depth through atmospheric perspective and subtle color variations.

technical profile

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

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Create a preliminary sketch to establish the composition and proportions of the figures.

  2. step 02

    Block in the main shapes and values with thin washes of color.

  3. step 03

    Begin building up the skin tones with layers of subtle color variations, paying attention to highlights and shadows.

  4. step 04

    Define the drapery folds and textures of the robes using a combination of blending and sharper brushstrokes.

  5. step 05

    Add details to the faces and hands, focusing on capturing the expressions and gestures of the figures.

  6. step 06

    Develop the background with soft, blended colors to create a sense of depth.

  7. step 07

    Refine the overall painting by adjusting values, adding highlights, and softening edges.

  8. step 08

    Add final details such as the spears and architectural elements.

color palette

primary · titanium white · burnt umber · yellow ochre · cadmium red

secondary · ultramarine blue · viridian green · ivory black

Achieve skin tones by mixing white, yellow ochre, and a touch of red, adjusting the proportions to create highlights and shadows. Use ultramarine blue and burnt umber to create muted grays and greens for the robes.

techniques

  • ·figure drawing
  • ·glazing
  • ·chiaroscuro
  • ·blending
  • ·atmospheric perspective

common pitfalls

  • →Incorrect proportions of the figures.
  • →Overly harsh or muddy skin tones.
  • →Flat or lifeless drapery.
  • →Lack of depth in the background.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·burnt umber oil paint
  • ·yellow ochre oil paint
  • ·cadmium red oil paint
  • ·ultramarine blue oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use high-quality oil paints for best results. Consider using a medium to improve the flow and blending of the paints.

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

Mr. John Williams

Mr. John Williams

Benjamin West