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home·artworks·The Offspring of a Murderous Love
The Offspring of a Murderous Love by Eric Fischl

plate no. 1512

The Offspring of a Murderous Love

Eric Fischl

oilContemporary Realisminteriorstatuesfiguresarchitectureinteriorshadowslight
experienced study

This painting provides an opportunity to practice rendering form with subtle value changes and creating dramatic lighting effects. Students can also develop skills in depicting complex sculptural forms and architectural spaces.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Create a preliminary sketch to establish the composition and proportions of the statues and architectural elements.

  2. step 02

    Block in the main areas of light and shadow using a limited palette of neutral tones.

  3. step 03

    Refine the shapes and forms of the statues, paying close attention to the subtle shifts in value that define their contours.

  4. step 04

    Develop the background architecture, focusing on creating a sense of depth and atmosphere.

  5. step 05

    Add details to the statues, such as the texture of the stone and the folds of the drapery.

  6. step 06

    Adjust the overall lighting and contrast to create a dramatic and engaging composition.

  7. step 07

    Glaze thin layers of color to enhance the depth and richness of the painting.

  8. step 08

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

color palette

primary · ivory black · raw umber · titanium white

secondary · yellow ochre · burnt sienna

Achieve the subtle variations in tone by mixing the primary colors in different proportions. Use yellow ochre and burnt sienna sparingly to add warmth to the shadows and highlights.

techniques

  • ·value studies
  • ·chiaroscuro
  • ·glazing
  • ·scumbling
  • ·atmospheric perspective

common pitfalls

  • →Failing to establish a strong foundation with a detailed sketch.
  • →Overworking the painting and losing the freshness of the initial layers.
  • →Ignoring the subtle shifts in value that define the forms of the statues.
  • →Creating too much contrast and losing the sense of atmosphere.

materials

surface · stretched canvas

required

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

optional

  • ·palette knife
  • ·retouch varnish
  • ·medium

Use high-quality oil paints for best results. Prepare the canvas with a layer of gesso before beginning to paint.

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