apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Salome in Prison
Salome in Prison by Gustave Moreau

plate no. 9992

Salome in Prison

Gustave Moreau, 1876

oil, canvasSymbolismreligious paintingfigureinteriorcolumnsarchitecturereligiousshadows
experienced study

Recreating this painting will help students develop skills in glazing, scumbling, and creating atmospheric perspective. It also provides practice in rendering figures in low light conditions and capturing a sense of drama.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber.

  3. step 03

    Begin layering in the darker tones, paying attention to the shadows and the forms they create.

  4. step 04

    Introduce the warmer highlights, gradually building up the light on the figure and the background.

  5. step 05

    Add details to the figure's clothing and the architectural elements, using small brushes.

  6. step 06

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

  7. step 07

    Scumble lighter tones over darker areas to create texture and atmosphere.

  8. step 08

    Refine the details and adjust the values to achieve the desired effect.

color palette

primary · burnt umber · yellow ochre · ivory black

secondary · cadmium red · ultramarine blue · raw sienna

Achieve the warm, muted tones by mixing burnt umber with yellow ochre and small amounts of cadmium red. Use ivory black to darken the shadows and ultramarine blue to create cooler tones in the background.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·atmospheric perspective
  • ·dry brushing

common pitfalls

  • →Overworking the details too early.
  • →Failing to establish a strong value structure.
  • →Using too much color and losing the overall tonal harmony.
  • →Not creating enough depth in the shadows.
  • →Ignoring the importance of soft edges.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·yellow ochre oil paint
  • ·ivory black oil paint
  • ·cadmium red oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil
  • ·palette

optional

  • ·palette knife
  • ·medium gloss
  • ·painting thinner

Use high-quality oil paints for best results. Consider using a toned canvas to speed up the painting process.

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

Satan Addressing his Potentates

Satan Addressing his Potentates

William Blake

Self-portrait in studio

Self-portrait in studio

Franz Stuck

Tajik

Tajik

Kuzmá Petrov-Vodkin

View from the studio in Eerbeek

View from the studio in Eerbeek

Jan Mankes

Harlequin's garden

Harlequin's garden

Serge Sudeikin

Incantation

Incantation

Felicien Rops

Anzac, the Landing

Anzac, the Landing

George Washington Lambert

Paisatge

Paisatge

Joan Brull