apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Suitor's Visit
The Suitor's Visit by Gerard Terborch

plate no. 9165

The Suitor's Visit

Gerard Terborch, 1658

oil, canvasBaroquegenre paintingfiguresinteriordoglutetabledoor
experienced study

Recreating this painting will help students develop skills in rendering figures with accurate proportions and capturing the nuances of light and shadow in an interior scene. It will also help with understanding color mixing to achieve realistic skin tones and fabric textures.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, paying attention to the placement and proportions of the figures and objects.

  2. step 02

    Block in the main shapes and colors, focusing on the overall value structure.

  3. step 03

    Develop the background, starting with the darkest areas and gradually adding highlights.

  4. step 04

    Refine the figures, paying attention to the details of their clothing and facial features.

  5. step 05

    Add the details of the lute, table, and other objects in the scene.

  6. step 06

    Work on the dog, capturing its pose and expression.

  7. step 07

    Adjust the values and colors to create a sense of depth and atmosphere.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

primary · ivory black · raw umber · titanium white · cadmium red light

secondary · ultramarine blue · yellow ochre · burnt sienna

Achieve skin tones by mixing white, red, yellow ochre, and a touch of umber. Create the dark background by blending black and umber, adding small amounts of blue or green for variation. The fabrics are achieved by glazing layers of colors.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·rendering fabric
  • ·portraiture

common pitfalls

  • →Getting the proportions of the figures wrong.
  • →Overworking the details and losing the overall sense of light and shadow.
  • →Using colors that are too bright or saturated.
  • →Failing to capture the subtle nuances of the skin tones.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·cadmium red light oil paint
  • ·ultramarine blue oil paint
  • ·yellow ochre oil paint
  • ·round brushes (sizes 2, 4, 6)

optional

  • ·palette knife
  • ·linseed oil
  • ·damar varnish

Use high-quality oil paints for best results. A medium-grit canvas will provide a good surface for the painting.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →chiaroscuro →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Girl with a Straw Hat

Girl with a Straw Hat

Judith Leyster

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Abraham Storck

Bathsheba Bathing

Bathsheba Bathing

Francesco Solimena

Repentant Peter

Repentant Peter

Guido Reni

Itinerant Musicians

Itinerant Musicians

Jacob Ochtervelt

Marie Christine

Marie Christine

Marcello Bacciarelli

Santa Cecilia E Due Angeli

Santa Cecilia E Due Angeli

Giulio Cesare Procaccini

Scene from the Life of Saint Benedict

Scene from the Life of Saint Benedict

Philippe de Champaigne