apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Return from the Kermesse
The Return from the Kermesse by Pieter Brueghel the Younger

plate no. 6980

The Return from the Kermesse

Pieter Brueghel the Younger

oilNorthern Renaissancegenre paintingfigureslandscapevillagetreeschurchbuildings
experienced study

Recreating this painting will help students develop skills in depicting figures in a landscape and understanding atmospheric perspective. It also provides practice in creating a sense of depth and detail in a complex composition.

technical profile

palette complexity
3
brushwork visibility
3
value contrast
3
compositional simplicity
1

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the village, church, trees, and the main group of figures.

  2. step 02

    Establish the horizon line and the basic perspective of the landscape.

  3. step 03

    Block in the main color areas for the sky, ground, trees, and buildings using thin washes.

  4. step 04

    Begin adding details to the buildings and trees, gradually building up layers of color and texture.

  5. step 05

    Start painting the figures, focusing on their basic shapes and proportions.

  6. step 06

    Add details to the figures' clothing and faces, paying attention to the light and shadow.

  7. step 07

    Refine the overall composition, adjusting colors and values as needed.

  8. step 08

    Add final details, such as highlights and shadows, to create a sense of depth and realism.

color palette

primary · yellow ochre · burnt umber · ivory black · titanium white

secondary · red ochre · sap green · ultramarine blue

Mix various shades of brown and green by combining yellow ochre, burnt umber, ivory black, and small amounts of blue or green. Use white to lighten colors and create highlights.

techniques

  • ·glazing
  • ·scumbling
  • ·layering
  • ·atmospheric perspective
  • ·figure drawing

common pitfalls

  • →Getting lost in the details too early without establishing the overall composition.
  • →Using colors that are too bright or saturated, which can make the painting look unnatural.
  • →Failing to create a sense of depth and atmosphere.
  • →Not paying enough attention to the proportions and anatomy of the figures.

materials

surface · stretched canvas

required

  • ·Stretched canvas 18x24
  • ·Oil paints (yellow ochre, burnt umber, ivory black, titanium white, red ochre, sap green, ultramarine blue)
  • ·Round brushes (sizes 2, 4, 6)
  • ·Flat brushes (sizes 4, 8)
  • ·Palette
  • ·Linseed oil
  • ·Odorless mineral spirits
  • ·Palette knife

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

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

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

Aristotle

Aristotle

Justus van Gent

The Man of Sorrows with the Virgin Mary and St. John the Evangelist

The Man of Sorrows with the Virgin Mary and St. John the Evangelist

Martin Schongauer

The pride of the beggar sitting on the train of haughtiness

The pride of the beggar sitting on the train of haughtiness

Albrecht Altdorfer

Adoration of the Magi

Adoration of the Magi

Quentin Matsys

Christ on the Cross

Christ on the Cross

Albrecht Altdorfer

Frühling - Das Bereiten Der Blumenbeete

Frühling - Das Bereiten Der Blumenbeete

Pieter Brueghel the Younger

Group of Men

Group of Men

Rogier van der Weyden

Madonna and Child Holding a Pear

Madonna and Child Holding a Pear

Bernard Van Orley