plate no. 5559

The sale of the Camillo Castiglioni II collection at Frederik Muller, Amsterdam

Nicolaas van der Waay, 1925

oil, canvasAcademicismhistory paintinginteriorfiguresroomarchitectureeventaudience

experienced study

Recreating this painting will help students develop skills in depicting complex scenes with many figures and understanding atmospheric perspective to create depth. It also provides practice in capturing the nuances of light and shadow within an interior space.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 30 hrs

approach — 8 steps

step 01
Begin with a light sketch to establish the overall composition and perspective of the room.
step 02
Block in the large shapes of the room, including the walls, ceiling, and windows, using thin washes of color.
step 03
Establish the placement of the figures, focusing on their relative sizes and positions within the space.
step 04
Start adding details to the figures, such as clothing and facial features, using small brushstrokes.
step 05
Develop the lighting and shadows, paying attention to how light enters the room through the windows and illuminates the figures.
step 06
Refine the details of the architectural elements, such as the moldings and trim, using precise brushwork.
step 07
Add final touches to the figures, such as highlights and shadows, to create a sense of depth and dimension.
step 08
Glaze with thin layers of color to unify the painting and create a sense of atmosphere.

color palette

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

secondary · cadmium red · yellow ochre · ultramarine blue

Mix various shades of brown and gray by combining burnt umber, raw sienna, ivory black, and titanium white. Use small amounts of cadmium red and yellow ochre to add warmth to the browns. Ultramarine blue can be used to cool down the grays and create shadows.

techniques

·Underpainting
·Glazing
·Scumbling
·Atmospheric perspective
·Figure drawing

common pitfalls

→Getting the perspective wrong, leading to a distorted sense of space.
→Overworking the details, resulting in a stiff and unnatural appearance.
→Failing to establish a clear focal point, causing the viewer's eye to wander.
→Ignoring the subtle variations in color and value, resulting in a flat and lifeless painting.

materials

surface · stretched canvas

required

·Stretched canvas (18x24 inches)
·Oil paints (burnt umber, raw sienna, ivory black, titanium white, cadmium red, yellow ochre, ultramarine blue)
·Linseed oil
·Odorless mineral spirits
·Assorted brushes (round, flat, filbert)
·Palette
·Palette knife
·Rags