apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Destruction of the Pharoah’s Host
The Destruction of the Pharoah’s Host by John Martin

plate no. 9774

The Destruction of the Pharoah’s Host

John Martin, 1833

mezzotint, paperRomanticismreligious paintingfigureswaterskycloudslandscapereligious scene
experienced study

Recreating this painting will help students develop skills in value control and creating atmospheric perspective. It also provides practice in rendering complex scenes with many figures and dramatic lighting.

technical profile

palette complexity
2
brushwork visibility
3
value contrast
5
compositional simplicity
2

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the main compositional elements: the figures, the water, the cliffs, and the sky.

  2. step 02

    Establish the darkest darks and lightest lights using a limited palette of black and white (or a very dark brown).

  3. step 03

    Gradually build up the mid-tones, paying close attention to the value relationships to create depth and form.

  4. step 04

    Focus on rendering the textures of the rocks and the turbulent water using varied brushstrokes.

  5. step 05

    Add details to the figures, keeping in mind the overall value structure and atmospheric perspective.

  6. step 06

    Refine the highlights and shadows to enhance the dramatic effect.

  7. step 07

    Pay special attention to the rendering of the clouds and the light breaking through them.

  8. step 08

    Make final adjustments to the overall composition and value balance.

color palette

primary · ivory black · titanium white

secondary · raw umber

Use varying ratios of black and white to create a full range of values. A touch of raw umber can add warmth to the shadows.

techniques

  • ·value studies
  • ·atmospheric perspective
  • ·dry brushing
  • ·scumbling
  • ·chiaroscuro

common pitfalls

  • →Getting lost in the details too early without establishing the overall value structure.
  • →Creating muddy or flat values by over-blending.
  • →Failing to create a strong focal point.
  • →Not paying attention to atmospheric perspective, causing the background to appear too sharp.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·raw umber oil paint
  • ·assorted brushes (round and flat)
  • ·palette
  • ·linseed oil
  • ·mineral spirits

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

A toned canvas (e.g., with a thin wash of raw umber) can be helpful for establishing the mid-tones.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Romantic Landscape

Romantic Landscape

Karl Lessing

Self-portrait with his brother Francesco

Self-portrait with his brother Francesco

Giuseppe Tominz

Oenone Refuse de Secourir Pâris au Siège de Troie

Oenone Refuse de Secourir Pâris au Siège de Troie

Léon Cogniet

Duke of Alba

Duke of Alba

Francisco Goya

Blick Aus Dem Wald Ins Tal

Blick Aus Dem Wald Ins Tal

Andreas Achenbach

Young Girl Fixing Her Hair

Young Girl Fixing Her Hair

Sophie Gengembre Anderson

The Plough Inn

The Plough Inn

William Shayer

Hudson River Landscape

Hudson River Landscape

Johann Hermann Carmiencke