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home·artworks·Standing Virgin and Child
Standing Virgin and Child by Hans Memling

plate no. 7313

Standing Virgin and Child

Hans Memling, 1490

oil, oakNorthern Renaissancereligious paintingfigurereligiousportraitchilddraperyarchitecture
experienced study

Recreating this painting would help students develop skills in portraiture, drapery rendering, and achieving realistic skin tones through layering and glazing. It also offers practice in capturing subtle light and shadow.

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

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

  2. step 02

    Create a detailed sketch outlining the figures, drapery, and architectural elements.

  3. step 03

    Block in the main color areas: skin tones, red robe, dark background, and architectural details.

  4. step 04

    Begin layering the skin tones, focusing on subtle variations in light and shadow.

  5. step 05

    Develop the drapery folds in the red robe, paying attention to how light interacts with the fabric.

  6. step 06

    Refine the details of the faces, hands, and other key features.

  7. step 07

    Add the halos using thin, precise lines.

  8. step 08

    Apply final glazes to unify the colors and enhance the overall depth.

color palette

primary · titanium white · cadmium red · ivory black · yellow ochre

secondary · burnt umber · ultramarine blue · raw sienna

Achieve skin tones by mixing titanium white, yellow ochre, and a touch of cadmium red. Use burnt umber and ivory black for shadows and dark areas. Mix cadmium red with a touch of burnt umber for the red robe.

techniques

  • ·layering
  • ·glazing
  • ·scumbling
  • ·portraiture
  • ·drapery rendering

common pitfalls

  • →Overmixing colors, resulting in muddy tones.
  • →Failing to accurately capture the proportions of the figures.
  • →Neglecting the subtle variations in skin tone.
  • →Ignoring the importance of light and shadow in creating depth.
  • →Getting lost in details too early in the process.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·cadmium red oil paint
  • ·ivory black oil paint
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·#2 round brush
  • ·#4 filbert brush

optional

  • ·palette knife
  • ·linseed oil
  • ·damar varnish
  • ·medium gloss

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

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oil painting for beginners →how to learn by studying the masters →
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