apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Still Life with Herring
Still Life with Herring by Pieter Claesz.

plate no. 9773

Still Life with Herring

Pieter Claesz., 1636

oilBaroquestill lifestill lifefishbreadglasstableclothplate
some experience helpful

Recreating this painting will help students develop skills in rendering textures, especially the reflective surfaces of the glass and metal, and understanding subtle value shifts to create form. It also provides practice in creating a believable sense of depth and atmosphere.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the placement and proportions of the objects.

  2. step 02

    Block in the background with a thin wash of warm brown tones.

  3. step 03

    Establish the dark and light areas on the tablecloth, focusing on the folds and highlights.

  4. step 04

    Paint the glass, paying close attention to the highlights and reflections.

  5. step 05

    Render the fish and plate, capturing the metallic sheen and texture.

  6. step 06

    Paint the bread, using warm colors and soft edges to create a sense of volume.

  7. step 07

    Add details such as the knife handle and any small objects on the table.

  8. step 08

    Refine the values and edges to create a cohesive and realistic image.

color palette

primary · burnt umber · raw sienna · titanium white

secondary · ivory black · yellow ochre · payne's gray

Achieve the metallic sheen by mixing white with small amounts of black and umber. Create the warm tones of the bread by blending sienna, ochre, and white. Use thin glazes of umber to deepen shadows.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·rendering reflective surfaces

common pitfalls

  • →Failing to accurately capture the proportions of the objects.
  • →Overworking the details and losing the overall sense of form.
  • →Not paying enough attention to the subtle value shifts.
  • →Using colors that are too saturated.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil
  • ·palette

optional

  • ·palette knife
  • ·medium gloss
  • ·odorless mineral spirits

Use a smooth canvas to allow for smooth blending and glazing. Consider toning the canvas with a thin wash of burnt umber before starting.

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