apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Still-life with a Moorish Servant
Still-life with a Moorish Servant by Juriaen van Streeck

plate no. 3309

Still-life with a Moorish Servant

Juriaen van Streeck

oilBaroquestill lifestill lifefigurefruittablewaredraperyglassware
experienced study

Recreating this painting will help students develop skills in rendering realistic textures and capturing subtle gradations of light and shadow. It also provides practice in composing a complex still life arrangement.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and composition, paying attention to the placement of the figure and still life elements.

  2. step 02

    Establish the dark background and general light source.

  3. step 03

    Block in the main colors of the figure's clothing and skin tones, focusing on the shadow areas.

  4. step 04

    Begin layering the fruit and tableware, building up the colors and values gradually.

  5. step 05

    Add details to the drapery and background, refining the folds and textures.

  6. step 06

    Work on the reflective surfaces of the metalware and glassware, capturing the highlights and reflections.

  7. step 07

    Refine the details of the figure's face and hands, paying attention to the subtle transitions in value.

  8. step 08

    Add final highlights and details to the entire painting, ensuring a cohesive and realistic look.

color palette

primary · ivory black · ultramarine blue · yellow ochre · burnt umber

secondary · cadmium red · titanium white · raw sienna

Mix dark skin tones using ivory black, burnt umber, and a touch of cadmium red. Achieve the metallic sheen by layering grays and whites, and the fruit colors by mixing primaries with white for highlights.

techniques

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

common pitfalls

  • →Failing to establish a strong value structure early on.
  • →Overworking the details before establishing the overall form.
  • →Not capturing the subtle color variations in the shadows.
  • →Ignoring the importance of reflected light.

materials

surface · stretched canvas

required

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

optional

  • ·palette knife
  • ·retouch varnish
  • ·medium (e.g. Liquin)

Use high-quality oil paints for best results. Consider using a toned canvas to help establish the dark background.

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