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home·artworks·The Constitution of May
The Constitution of May by Jan Matejko

plate no. 9086

The Constitution of May

Jan Matejko, 1889

oilRomanticismhistory paintingfiguresinteriorarchitecturehistorical eventportraitspaintings
advanced study

Recreating this painting will help students develop skills in depicting complex scenes with many figures and intricate architectural details, as well as understanding how to create depth and atmosphere using light and shadow.

technical profile

palette complexity
4
brushwork visibility
4
value contrast
4
compositional simplicity
1

study guide

est. 40 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the overall composition and placement of key figures and architectural elements.

  2. step 02

    Block in the main areas of color using thin washes, focusing on the overall value structure.

  3. step 03

    Develop the architectural details, paying attention to the perspective and proportions.

  4. step 04

    Start building up the figures, beginning with the larger shapes and gradually adding details.

  5. step 05

    Refine the lighting and shadows to create depth and dimension.

  6. step 06

    Add details to the clothing and faces of the figures.

  7. step 07

    Pay attention to the textures of the various surfaces, such as the walls, furniture, and clothing.

  8. step 08

    Add final highlights and shadows to create a sense of realism.

color palette

primary · burnt umber · raw sienna · ivory black · titanium white

secondary · ultramarine blue · cadmium red light · yellow ochre

Achieve the muted tones by mixing the primary colors with white and small amounts of secondary colors. Use glazes to create depth and richness in the shadows.

techniques

  • ·underpainting
  • ·glazing
  • ·scumbling
  • ·dry brushing
  • ·chiaroscuro

common pitfalls

  • →Getting lost in the details too early without establishing the overall composition.
  • →Failing to create a strong value structure, resulting in a flat and lifeless painting.
  • →Overworking the painting and losing the freshness of the initial brushstrokes.
  • →Inaccurate perspective and proportions in the architectural elements.

materials

surface · stretched canvas

required

  • ·stretched canvas 24x36
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)
  • ·linseed oil

optional

  • ·palette knife
  • ·turpentine
  • ·dammar varnish

Use high-quality oil paints for best results. Consider using a toned canvas to help establish the overall value structure.

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