apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Crucifixion
The Crucifixion by Gerard David

plate no. 5084

The Crucifixion

Gerard David, 1475

oil, panelNorthern Renaissancereligious paintingcrucifixionfigureslandscapecityscapereligious scenesky
experienced study

Recreating this painting will help students develop skills in figure drawing, drapery representation, and creating atmospheric perspective in a complex composition. It also offers practice in rendering realistic skin tones and textures.

technical profile

palette complexity
4
brushwork visibility
3
value contrast
4
compositional simplicity
2

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch outlining the main figures and the cross, paying attention to proportions and placement.

  2. step 02

    Sketch the background landscape and cityscape, focusing on perspective and relative scale.

  3. step 03

    Block in the main color areas for the sky, landscape, and figures using thin washes.

  4. step 04

    Start building up the figures, beginning with the underpainting of skin tones and drapery.

  5. step 05

    Develop the background details, including the buildings, hills, and atmospheric perspective.

  6. step 06

    Refine the figures, adding details to the faces, hands, and clothing.

  7. step 07

    Add highlights and shadows to create depth and volume.

  8. step 08

    Apply final glazes to unify the colors and add subtle nuances.

color palette

primary · ivory black · yellow ochre · cadmium red light · ultramarine blue

secondary · burnt umber · raw sienna · titanium white · viridian

Achieve skin tones by mixing white, yellow ochre, and a touch of red. Create atmospheric perspective in the background by adding blue to the local colors.

techniques

  • ·glazing
  • ·scumbling
  • ·underpainting
  • ·figure drawing
  • ·atmospheric perspective

common pitfalls

  • →incorrect proportions of figures
  • →flat or lifeless skin tones
  • →lack of depth in the background
  • →overworking details too early
  • →muddy colors

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife

optional

  • ·retouch varnish
  • ·painting medium
  • ·easel
  • ·mahl stick

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

Aristotle

Aristotle

Justus van Gent

The Man of Sorrows with the Virgin Mary and St. John the Evangelist

The Man of Sorrows with the Virgin Mary and St. John the Evangelist

Martin Schongauer

The pride of the beggar sitting on the train of haughtiness

The pride of the beggar sitting on the train of haughtiness

Albrecht Altdorfer

Adoration of the Magi

Adoration of the Magi

Quentin Matsys

Christ on the Cross

Christ on the Cross

Albrecht Altdorfer

Frühling - Das Bereiten Der Blumenbeete

Frühling - Das Bereiten Der Blumenbeete

Pieter Brueghel the Younger

Group of Men

Group of Men

Rogier van der Weyden

Madonna and Child Holding a Pear

Madonna and Child Holding a Pear

Bernard Van Orley