apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Camden Town Murder, or What Shall We Do For the Rent?
The Camden Town Murder, or What Shall We Do For the Rent? by Walter Sickert

plate no. 3242

The Camden Town Murder, or What Shall We Do For the Rent?

Walter Sickert, 1909

oil, canvasImpressionismgenre paintingfigureinteriorbedmandomesticclothing
some experience helpful

Recreating this painting will help students develop skills in loose brushwork, creating form with value, and capturing a sense of atmosphere. It also encourages observation of subtle color variations within a limited palette.

technical profile

palette complexity
3
brushwork visibility
5
value contrast
4
compositional simplicity
3

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes and composition using a thin wash of burnt umber.

  2. step 02

    Block in the background with dark, muted tones, paying attention to the subtle variations in color.

  3. step 03

    Establish the basic skin tones of the figure using a mix of white, yellow ochre, and a touch of red.

  4. step 04

    Define the shadows and highlights on the figure to create form and volume.

  5. step 05

    Paint the bedclothes with loose, expressive brushstrokes, using white and gray tones.

  6. step 06

    Add the details of the man's clothing, focusing on the contrast between the dark vest and the white shirt.

  7. step 07

    Refine the facial features and hands, using small, precise brushstrokes.

  8. step 08

    Add final touches and highlights to enhance the overall effect.

color palette

primary · burnt umber · titanium white · yellow ochre

secondary · cadmium red · ivory black

Mix skin tones by blending white, yellow ochre, and a touch of red. Use burnt umber and black to create shadows and darker tones. Muted grays can be achieved by mixing white, black, and a touch of umber.

techniques

  • ·broken color
  • ·alla prima
  • ·scumbling
  • ·impasto

common pitfalls

  • →Overworking the details and losing the loose, expressive quality.
  • →Creating muddy colors by overmixing.
  • →Failing to establish a strong value structure.
  • →Ignoring the subtle color variations within the shadows and highlights.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·assorted brushes
  • ·linseed oil
  • ·mineral spirits
  • ·rags

optional

  • ·painting medium
  • ·varnish
  • ·easel

Use a medium-textured canvas to allow for expressive brushwork. Consider using a limited palette to simplify the color mixing process.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →color theory for painters →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

View of the Bosphorus and Rumeli Hisarı

View of the Bosphorus and Rumeli Hisarı

Sevket Dag

Paysage du Midi

Paysage du Midi

Armand Guillaumin

Self-Portrait

Self-Portrait

Frederic Bazille

Tip of the Bay

Tip of the Bay

Max Kurzweil

Long Stemmed Lovelies

Long Stemmed Lovelies

Pino Daeni

At Rosetta, Lower Egypt

At Rosetta, Lower Egypt

John Varley II

House from Oltenia

House from Oltenia

Theodor Pallady

Jewish quarter in Amsterdam

Jewish quarter in Amsterdam

Max Liebermann