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home·artworks·The Marriage of the Emperor Frederick Barbarossa to Beatrice of Burgundy
The Marriage of the Emperor Frederick Barbarossa to Beatrice of Burgundy by Giovanni Battista Tiepolo

plate no. 0791

The Marriage of the Emperor Frederick Barbarossa to Beatrice of Burgundy

Giovanni Battista Tiepolo, 1751

frescoRococohistory paintingfiguresarchitectureceremonyinteriorcolumnsdrapery
experienced study

Recreating this painting will help students develop skills in rendering complex figures in perspective and capturing the texture of ornate architectural details. It also provides practice in creating a sense of depth and atmosphere through subtle color variations.

technical profile

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

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Create a preliminary sketch to establish the overall composition and perspective.

  2. step 02

    Block in the main shapes and forms using thin washes of color.

  3. step 03

    Establish the light source and begin to build up the values, focusing on the areas of greatest contrast.

  4. step 04

    Develop the details of the figures, paying attention to anatomy and drapery.

  5. step 05

    Add the architectural elements, carefully rendering the columns, arches, and ornamentation.

  6. step 06

    Refine the colors and values, creating a sense of depth and atmosphere.

  7. step 07

    Add final details and highlights to bring the painting to life.

  8. step 08

    Glaze with thin washes to unify the colors and create a sense of luminosity.

color palette

primary · titanium white · yellow ochre · raw umber · burnt sienna

secondary · ultramarine blue · cadmium red light · ivory black

Achieve the gold tones by mixing yellow ochre with burnt sienna and a touch of white. Create the marble effect by layering thin washes of raw umber and white. Use ultramarine blue and white to create the cool tones in the shadows.

techniques

  • ·glazing
  • ·scumbling
  • ·dry brushing
  • ·atmospheric perspective
  • ·figure drawing

common pitfalls

  • →getting lost in the details too early
  • →flattening the perspective
  • →overworking the colors
  • →ignoring the light source

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·ultramarine blue oil paint
  • ·assorted brushes (round and flat)
  • ·linseed oil

optional

  • ·palette knife
  • ·damar varnish
  • ·medium (e.g. Liquin)

Use high-quality oil paints for best results. Consider using a toned canvas to create a more unified color palette.

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