apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The multiplication of breads
The multiplication of breads by Alexander Ivanov

plate no. 9369

The multiplication of breads

Alexander Ivanov

oilAcademicismsketch and studyfigurescrowdlandscapereligiousfoodclothing
some experience helpful

Recreating this painting will help students develop skills in figure drawing, composition, and creating depth through atmospheric perspective. It also provides practice in limited color palette mixing and achieving a sense of movement and energy.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the overall composition and placement of figures.

  2. step 02

    Focus on the central figure and surrounding individuals, gradually adding figures further back.

  3. step 03

    Block in the main shapes and values using a diluted wash of burnt umber or similar earth tone.

  4. step 04

    Add darker values to define the central figure's robe and create contrast.

  5. step 05

    Introduce subtle color variations to the figures' skin tones and clothing.

  6. step 06

    Soften edges and blend colors to create a sense of atmosphere and distance.

  7. step 07

    Add final details to the central figure's face and hands.

  8. step 08

    Refine the background landscape with light washes of color.

color palette

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

secondary · yellow ochre · cadmium red light

Achieve skin tones by mixing raw sienna, burnt umber, and white. Use black sparingly to darken values. Mix yellow ochre and a touch of red for highlights.

techniques

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

common pitfalls

  • →Overworking details too early
  • →Creating figures that are too stiff or static
  • →Failing to establish a clear focal point
  • →Using colors that are too saturated

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·#2 round brush
  • ·#6 flat brush

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine

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

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

Portrait of a Young Woman

Portrait of a Young Woman

George Demetrescu Mirea

My daughters, Eva and Jeanne

My daughters, Eva and Jeanne

Diogène Maillart

The Reluctant Bride

The Reluctant Bride

Auguste Toulmouche

The Proposal

The Proposal

Wladyslaw Czachorski

The Dressing Room

The Dressing Room

Henri-Pierre Picou

Girl with pinks

Girl with pinks

Wladyslaw Czachorski

Self-Portrait

Self-Portrait

George Demetrescu Mirea

Via Appia at Sunset

Via Appia at Sunset

Alexander Ivanov