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home·artworks·Still Life with Ham
Still Life with Ham by Meijer de Haan

plate no. 3992

Still Life with Ham

Meijer de Haan, 1889

oilPost-Impressionismstill lifehamfruitglassstill lifetable
some experience helpful

Recreating this painting will help students practice layering colors and creating form with visible brushstrokes. It also provides a good exercise in observing and representing subtle color variations in shadows and highlights.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes of the ham, fruit, glass, and plate, paying attention to their relative sizes and positions.

  2. step 02

    Block in the background with a thin layer of pinkish-brown paint.

  3. step 03

    Establish the main color masses for the ham, fruit, and glass using simplified color mixtures.

  4. step 04

    Start building up layers of color on the ham, focusing on the variations in red and brown tones.

  5. step 05

    Add details to the fruit, paying attention to the highlights and shadows that define their forms.

  6. step 06

    Paint the glass, capturing its transparency and the reflections within.

  7. step 07

    Develop the table surface with layers of green, brown, and gray, creating a sense of depth and texture.

  8. step 08

    Refine the details and adjust the values to create a cohesive and balanced composition.

color palette

primary · red ochre · burnt umber · titanium white

secondary · cadmium yellow · viridian green · ultramarine blue

Mix various shades of red and brown for the ham by combining red ochre, burnt umber, and white. Use small amounts of yellow and blue to create the greens and browns for the table.

techniques

  • ·layering
  • ·dry brushing
  • ·color mixing
  • ·scumbling
  • ·blending

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to observe and represent the subtle color variations.
  • →Creating muddy colors by overmixing.
  • →Ignoring the importance of value contrast in defining form.

materials

surface · stretched canvas

required

  • ·stretched canvas (12x16 inches)
  • ·oil paints (red ochre, burnt umber, titanium white, cadmium yellow, viridian green, ultramarine blue)
  • ·palette
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·palette knife

optional

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

Use a limited palette to simplify the color mixing process. Consider using a toned canvas to create a more unified color harmony.

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related guides

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