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home·artworks·Return from Calvary
Return from Calvary by Herbert Gustave Schmalz (Herbert Carmichael)

plate no. 8004

Return from Calvary

Herbert Gustave Schmalz (Herbert Carmichael), 1891

oilRomanticismreligious paintingfigurescityscapeskyarchitecturestepsreligious
experienced study

Recreating this painting will help students develop skills in rendering figures with drapery and creating atmospheric perspective to depict depth in a cityscape. It also provides practice in achieving subtle color variations and tonal gradations.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main figures and the basic layout of the cityscape, paying attention to proportions and perspective.

  2. step 02

    Establish the dark background sky using a thin wash of dark blues and browns.

  3. step 03

    Block in the main areas of color for the figures, using a limited palette of earth tones and whites.

  4. step 04

    Begin to refine the forms of the figures, adding details to the drapery and facial features.

  5. step 05

    Develop the cityscape in the background, using progressively lighter and grayer tones to create atmospheric perspective.

  6. step 06

    Add highlights and shadows to the figures and architecture to create depth and dimension.

  7. step 07

    Refine the details of the foreground steps and add any final touches.

  8. step 08

    Glaze with thin layers of color to unify the painting and enhance the overall mood.

color palette

primary · ivory black · raw umber · titanium white · burnt sienna

secondary · ultramarine blue · yellow ochre · alizarin crimson

Achieve the muted tones by mixing earth colors with white and small amounts of blue or crimson. Create atmospheric perspective by adding white to the background colors.

techniques

  • ·underpainting
  • ·glazing
  • ·atmospheric perspective
  • ·figure drawing
  • ·drapery rendering

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too bright or saturated.
  • →Ignoring the principles of atmospheric perspective.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·burnt sienna oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)
  • ·linseed oil

optional

  • ·palette knife
  • ·turpentine
  • ·retouch varnish
  • ·medium gloss

Use high-quality oil paints for best results. A toned canvas (e.g., with a thin wash of raw umber) can be helpful.

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