apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The excavation of the cross
The excavation of the cross by Adam Elsheimer

plate no. 8656

The excavation of the cross

Adam Elsheimer, 1605

oilBaroquereligious paintingfigureslandscapereligious scenecrosslaborerssky
experienced study

Recreating this painting will help students develop skills in figure drawing, foreshortening, and creating depth through atmospheric perspective. It also provides 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. 20 hrs

approach — 8 steps

  1. step 01

    Create a preliminary sketch to establish the composition and proportions of the figures.

  2. step 02

    Block in the main shapes and forms with thin washes of color, focusing on the overall value structure.

  3. step 03

    Begin building up the details of the figures, paying attention to anatomy and musculature.

  4. step 04

    Develop the landscape elements, using layers of color to create depth and atmosphere.

  5. step 05

    Refine the details of the figures' clothing and tools.

  6. step 06

    Add highlights and shadows to enhance the three-dimensionality of the forms.

  7. step 07

    Glaze with thin layers of color to unify the painting and create subtle color variations.

  8. step 08

    Add final details and adjust values as needed.

color palette

primary · raw umber · burnt sienna · titanium white

secondary · Prussian blue · yellow ochre · cadmium red light

Achieve skin tones by mixing burnt sienna, raw umber, and titanium white, with small amounts of cadmium red light for warmth. Create earth tones by mixing raw umber, yellow ochre, and white. Use Prussian blue to create atmospheric perspective in the sky.

techniques

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

common pitfalls

  • →Incorrect proportions of figures
  • →Overblending skin tones
  • →Failing to create depth in the landscape
  • →Ignoring the light source

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·Prussian blue oil paint
  • ·yellow ochre oil paint
  • ·cadmium red light oil paint
  • ·assorted brushes

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use a medium-grain canvas for optimal texture. Consider using a toned ground to speed up the painting process.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →chiaroscuro →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Girl with a Straw Hat

Girl with a Straw Hat

Judith Leyster

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Abraham Storck

Bathsheba Bathing

Bathsheba Bathing

Francesco Solimena

Repentant Peter

Repentant Peter

Guido Reni

Itinerant Musicians

Itinerant Musicians

Jacob Ochtervelt

Marie Christine

Marie Christine

Marcello Bacciarelli

Santa Cecilia E Due Angeli

Santa Cecilia E Due Angeli

Giulio Cesare Procaccini

Scene from the Life of Saint Benedict

Scene from the Life of Saint Benedict

Philippe de Champaigne