apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Deliverance of St. Peter
The Deliverance of St. Peter by Hendrick Terbrugghen

plate no. 1444

The Deliverance of St. Peter

Hendrick Terbrugghen, 1624

oil, canvasTenebrismreligious paintingfiguresangelsaintreligiousdark backgroundhands
experienced study

This painting is great for learning chiaroscuro and figure painting. Students will practice blending skin tones and creating dramatic lighting effects.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Block in the main areas of color, starting with the darkest shadows.

  3. step 03

    Begin layering in mid-tones and highlights, paying attention to the direction of the light source.

  4. step 04

    Refine the details of the faces and hands, using small brushes and subtle color variations.

  5. step 05

    Add the details of the clothing and background, using loose brushstrokes.

  6. step 06

    Glaze thin layers of color to unify the painting and create depth.

  7. step 07

    Add final highlights and shadows to enhance the dramatic effect.

  8. step 08

    Varnish the painting to protect it and enhance the colors.

color palette

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

secondary · cadmium red light · yellow ochre · ultramarine blue

Mix darks by combining ivory black and raw umber. Create skin tones by mixing titanium white, burnt sienna, and a touch of cadmium red light. Use yellow ochre and ultramarine blue to create muted greens.

techniques

  • ·chiaroscuro
  • ·glazing
  • ·scumbling
  • ·underpainting
  • ·figure drawing

common pitfalls

  • →Overblending the shadows, resulting in a flat, lifeless effect.
  • →Using too much white in the highlights, making them appear chalky.
  • →Ignoring the subtle color variations in the skin tones.
  • →Not paying enough attention to the anatomy of the figures.

materials

surface · stretched canvas

required

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

optional

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

Use high-quality oil paints for best results. Allow each layer of paint 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

St. Simon

St. Simon

Georges de la Tour

St. Bartholomew

St. Bartholomew

Jusepe de Ribera

Heraclitus

Heraclitus

Hendrick Terbrugghen

The Calling of St. Matthew

The Calling of St. Matthew

Hendrick Terbrugghen

The Triangle Player

The Triangle Player

Georges de la Tour

Glowers in a sculpted vase on a stone plinth

Glowers in a sculpted vase on a stone plinth

Mario Nuzzi

St. Jerome

St. Jerome

Jusepe de Ribera

A Mother Entrusting Her Sons to Christ

A Mother Entrusting Her Sons to Christ

Mattia Preti