apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Still Life of Flowers
Still Life of Flowers by Willem van Aelst

plate no. 5713

Still Life of Flowers

Willem van Aelst, 1677

oilBaroqueflower paintingflowersrosesleavesstill lifedark backgroundcarnation
experienced study

Recreating this painting will help students develop skills in layering paint to create depth and form, as well as understanding subtle color variations to depict realistic floral textures. It also provides practice in creating a focal point through careful composition and value contrast.

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

    Prepare a toned canvas with a dark umber wash.

  2. step 02

    Lightly sketch the basic shapes and placement of the flowers and leaves.

  3. step 03

    Block in the darkest values of the background and shadows on the flowers.

  4. step 04

    Begin layering the lighter tones on the petals, focusing on the rose first.

  5. step 05

    Add the greens of the leaves, paying attention to their shapes and highlights.

  6. step 06

    Refine the details of the petals, adding subtle color variations and highlights.

  7. step 07

    Glaze thin layers of color to deepen shadows and unify the composition.

  8. step 08

    Add final highlights and details to create a sense of realism.

color palette

primary · titanium white · alizarin crimson · yellow ochre · burnt umber

secondary · sap green · cadmium yellow · ultramarine blue

Mix various shades of pink by combining alizarin crimson and titanium white, adjusting the ratio for lighter and darker tones. Create greens by mixing sap green with yellow ochre or ultramarine blue for different shades.

techniques

  • ·layering
  • ·glazing
  • ·blending
  • ·scumbling
  • ·chiaroscuro

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated, resulting in an unnatural look.
  • →Ignoring the subtle color variations within the flowers and leaves.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·alizarin crimson oil paint
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·sap green oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil

optional

  • ·palette knife
  • ·damar varnish
  • ·medium

Use high-quality oil paints for best results. A pre-toned canvas will help to establish the dark background more easily.

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