apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·St John the Baptist
St John the Baptist by Adam Elsheimer

plate no. 1831

St John the Baptist

Adam Elsheimer, 1605

oilBaroquereligious paintingfigurelamblandscapetreesanimalsriver
experienced study

Recreating this painting will help students develop skills in rendering realistic skin tones and creating depth through atmospheric perspective. It also provides practice in depicting complex foliage and animal forms.

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

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

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber, paying attention to areas of light and shadow.

  3. step 03

    Begin layering in skin tones, starting with mid-tones and gradually adding highlights and shadows.

  4. step 04

    Paint the lamb, focusing on capturing its soft texture and form.

  5. step 05

    Develop the background landscape, using atmospheric perspective to create depth.

  6. step 06

    Add details to the foliage, trees, and river, varying brushstrokes to create texture.

  7. step 07

    Refine the figure and lamb, adding subtle details and highlights.

  8. step 08

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

color palette

primary · burnt umber · raw sienna · titanium white · yellow ochre

secondary · ultramarine blue · ivory black · cadmium yellow light

Achieve skin tones by mixing burnt umber, raw sienna, yellow ochre, and titanium white. Use ultramarine blue and ivory black to create cool shadows in the background.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·atmospheric perspective
  • ·rendering fur

common pitfalls

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

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·ultramarine blue oil paint
  • ·ivory black oil paint
  • ·round brushes (sizes 2, 4, 6)

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use high-quality oil paints for best results. Consider using a toned canvas to simplify the underpainting 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 →chiaroscuro →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Girl with a Straw Hat

Girl with a Straw Hat

Judith Leyster

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Abraham Storck

Bathsheba Bathing

Bathsheba Bathing

Francesco Solimena

Repentant Peter

Repentant Peter

Guido Reni

Itinerant Musicians

Itinerant Musicians

Jacob Ochtervelt

Marie Christine

Marie Christine

Marcello Bacciarelli

Santa Cecilia E Due Angeli

Santa Cecilia E Due Angeli

Giulio Cesare Procaccini

Scene from the Life of Saint Benedict

Scene from the Life of Saint Benedict

Philippe de Champaigne