apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Still life
Still life by Boris Grigoriev

plate no. 0715

Still life

Boris Grigoriev

oilExpressionismstill lifestill lifepotropecheesetableclothbrush
some experience helpful

Recreating this painting will help students develop skills in rendering form with subtle value changes and understanding how light interacts with different textures. It's a good exercise in observing and painting complex arrangements of objects.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes and composition, paying attention to proportions and placement.

  2. step 02

    Establish the background with dark, muted tones.

  3. step 03

    Block in the main colors of the pot, cheese, and tablecloth, focusing on the overall value structure.

  4. step 04

    Begin refining the shapes and adding details to the pot, including the rope and handle.

  5. step 05

    Work on the cheese, brush, and knife, paying attention to their individual textures and forms.

  6. step 06

    Develop the folds and shadows in the tablecloth, creating a sense of depth.

  7. step 07

    Add highlights and refine the details throughout the painting.

  8. step 08

    Make final adjustments to the colors, values, and details to achieve a cohesive and balanced composition.

color palette

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

secondary · yellow ochre · cadmium yellow hue · payne's gray · red oxide

Mix burnt sienna and raw umber with white for the pot and cheese. Use payne's gray and ivory black for the rope and background. Add touches of yellow ochre and red oxide for warmth and variation.

techniques

  • ·underpainting
  • ·glazing
  • ·scumbling
  • ·dry brushing
  • ·chiaroscuro

common pitfalls

  • →Getting the proportions wrong in the initial sketch.
  • →Overworking the details too early in the process.
  • →Failing to create a strong sense of depth and form.
  • →Using colors that are too saturated or bright.

materials

surface · stretched canvas

required

  • ·stretched canvas (16x20 inches)
  • ·oil paints (burnt sienna, raw umber, ivory black, titanium white)
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)
  • ·palette knife
  • ·palette
  • ·linseed oil
  • ·odorless mineral spirits

optional

  • ·painting medium (e.g., Liquin)
  • ·retouch varnish
  • ·easel

A toned canvas (e.g., with a thin wash of burnt umber) can be helpful for establishing the initial value structure.

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

Dolly Sisters

Dolly Sisters

Kees van Dongen

Nude with Loaves

Nude with Loaves

Jean Helion

My Father

My Father

Carlos Botelho

Helen

Helen

Chronis Botsoglou

The portrait painter in the country

The portrait painter in the country

Albin Egger-Lienz

Marketta on Lázeňská street, Prague

Marketta on Lázeňská street, Prague

Maria Bozoky

Winter at the Entrepotdok, in Amsterdam city

Winter at the Entrepotdok, in Amsterdam city

Paul Werner

Old Woman with Masks (Theatre of Masks)

Old Woman with Masks (Theatre of Masks)

James Ensor