apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Supper at Emmaus
Supper at Emmaus by Carl Bloch

plate no. 9416

Supper at Emmaus

Carl Bloch

canvas, oilAcademicismreligious paintingfigurestableinteriorwindowreligious scenehalo
experienced study

Recreating this painting will help students develop skills in figure painting, particularly rendering realistic skin tones and drapery, and understanding how light and shadow create depth and drama.

technical profile

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

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of figures and the table.

  2. step 02

    Establish the main light source (window) and map out the areas of light and shadow.

  3. step 03

    Block in the background and the general colors of the figures' clothing.

  4. step 04

    Begin layering the skin tones, starting with mid-tones and gradually adding highlights and shadows.

  5. step 05

    Develop the details of the faces, paying attention to the subtle variations in color and value.

  6. step 06

    Refine the drapery, using soft blending to create a sense of volume and texture.

  7. step 07

    Add details to the table setting and the surrounding environment.

  8. step 08

    Apply final glazes to unify the painting and enhance the colors.

color palette

primary · burnt umber · raw sienna · titanium white · cadmium red

secondary · ultramarine blue · yellow ochre · ivory black

Achieve skin tones by mixing burnt umber, raw sienna, and titanium white, with small amounts of cadmium red for warmth. Use ultramarine blue and ivory black to create cool shadows.

techniques

  • ·glazing
  • ·chiaroscuro
  • ·underpainting
  • ·portraiture
  • ·drapery study

common pitfalls

  • →over-blending skin tones
  • →inaccurate proportions of figures
  • →neglecting the importance of the light source
  • →muddying colors by over-mixing

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints (burnt umber, raw sienna, titanium white, cadmium red, ultramarine blue, yellow ochre, ivory black)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·palette
  • ·assorted brushes (round and flat)
  • ·palette knife
  • ·rags

optional

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

Use high-quality oil paints for best results. Allow each layer to dry before applying the next.

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

Portrait of a Young Woman

Portrait of a Young Woman

George Demetrescu Mirea

My daughters, Eva and Jeanne

My daughters, Eva and Jeanne

Diogène Maillart

The Reluctant Bride

The Reluctant Bride

Auguste Toulmouche

The Proposal

The Proposal

Wladyslaw Czachorski

The Dressing Room

The Dressing Room

Henri-Pierre Picou

Girl with pinks

Girl with pinks

Wladyslaw Czachorski

Self-Portrait

Self-Portrait

George Demetrescu Mirea

The age

The age

Ludwig Knaus