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home·artworks·The Return of the Prodigal Son
The Return of the Prodigal Son by Ary Scheffer

plate no. 3442

The Return of the Prodigal Son

Ary Scheffer, 1857

oilNeoclassicismreligious paintingfiguresreligious scenefatherdaughtertendernessemotion
experienced study

Recreating this painting will help students develop skills in portraiture, including accurate proportions, rendering skin tones, and conveying emotion through facial expressions. It also offers practice in creating a focal point and using light and shadow to create depth.

technical profile

palette complexity
4
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 figures.

  2. step 02

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

  3. step 03

    Develop the skin tones, paying close attention to subtle variations in color and value.

  4. step 04

    Refine the details of the faces, focusing on capturing the expressions and emotions.

  5. step 05

    Add the clothing and background, using darker values to create contrast and depth.

  6. step 06

    Blend the edges of the forms to create a soft, naturalistic effect.

  7. step 07

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

  8. step 08

    Make final adjustments to the composition and color balance.

color palette

primary · burnt umber · raw sienna · titanium white · cadmium red

secondary · ivory black · yellow ochre · ultramarine blue

Achieve skin tones by mixing white, yellow ochre, and a touch of red. Use burnt umber and black for shadows. Mix ultramarine blue with burnt umber for a neutral dark tone.

techniques

  • ·portraiture
  • ·glazing
  • ·chiaroscuro
  • ·blending
  • ·underpainting

common pitfalls

  • →Incorrect proportions of the figures.
  • →Overly harsh or unnatural skin tones.
  • →Failure to capture the emotional expressions of the figures.
  • →Lack of contrast and depth in the composition.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints (burnt umber, raw sienna, titanium white, cadmium red, ivory black, yellow ochre, ultramarine blue)
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouching varnish

Use high-quality oil paints for best results. Allow each layer to dry before applying the next.

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