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home·artworks·the Disciples Peter and John Running to the Tomb on the Morning of the Resurrection
the Disciples Peter and John Running to the Tomb on the Morning of the Resurrection by Eugène Burnand

plate no. 7093

the Disciples Peter and John Running to the Tomb on the Morning of the Resurrection

Eugène Burnand, 1898

oilRealismreligious paintingfigureslandscapeskyrobeshandshorizon
some experience helpful

This painting provides a good opportunity to practice portraiture and rendering drapery with subtle value changes. Students can also learn about creating a sense of depth through atmospheric perspective.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Establish the background sky and landscape with broad, blended strokes.

  3. step 03

    Block in the main shapes of the figures, paying attention to the light and shadow patterns.

  4. step 04

    Develop the facial features and expressions, using subtle color variations to create form.

  5. step 05

    Render the drapery folds, using a combination of blending and visible brushstrokes.

  6. step 06

    Add details to the hands and other key areas, such as the hair and beards.

  7. step 07

    Refine the overall color harmony and value contrast.

  8. step 08

    Add final highlights and shadows to enhance the sense of realism.

color palette

primary · yellow ochre · burnt umber · titanium white

secondary · ultramarine blue · raw sienna · alizarin crimson

Achieve skin tones by mixing yellow ochre, burnt umber, and titanium white, with small amounts of alizarin crimson for warmth. Use ultramarine blue and burnt umber to create grays for shadows and clothing.

techniques

  • ·portraiture
  • ·drapery rendering
  • ·atmospheric perspective
  • ·blending
  • ·scumbling

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated.
  • →Ignoring the subtle color variations in the skin tones.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints
  • ·#4 round brush
  • ·#6 flat brush
  • ·#2 filbert brush
  • ·palette
  • ·linseed oil
  • ·turpentine

optional

  • ·palette knife
  • ·painting medium
  • ·varnish

Use a medium-tooth canvas for best results. Consider using a glazing medium to enhance the luminosity of the colors.

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related guides

oil painting for beginners →how to learn by studying the masters →
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