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home·artworks·The Tears of St. Peter, also called Repentant St. Peter
The Tears of St. Peter, also called Repentant St. Peter by Georges de la Tour

plate no. 6867

The Tears of St. Peter, also called Repentant St. Peter

Georges de la Tour, 1645

oil, canvasTenebrismreligious paintingfigureroosterlanternreligiousinterior
some experience helpful

Recreating this painting will help students develop skills in chiaroscuro and rendering textures with a limited palette. It also encourages careful observation of light and shadow to create depth and form.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, paying attention to the placement of the figure, rooster, and lantern.

  2. step 02

    Establish the darkest areas of the painting with a dark brown or black.

  3. step 03

    Begin layering in mid-tones, focusing on the areas where light hits the figure and objects.

  4. step 04

    Mix lighter tones to highlight the brightest areas, such as the face, hands, and lantern.

  5. step 05

    Refine the details of the figure's face and hands, paying attention to the subtle variations in tone.

  6. step 06

    Add details to the rooster, such as the feathers and comb.

  7. step 07

    Adjust the overall values and contrast to create a sense of depth and drama.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · burnt umber · raw umber · titanium white

secondary · yellow ochre · cadmium red light

Achieve the warm browns by mixing burnt umber, raw umber, and a touch of yellow ochre. Use titanium white to create highlights and lighter tones. Add a touch of cadmium red light to create the color of the rooster.

techniques

  • ·chiaroscuro
  • ·glazing
  • ·scumbling
  • ·blending

common pitfalls

  • →Over-blending, resulting in a flat, lifeless appearance.
  • →Failing to establish a strong value structure early on.
  • →Ignoring subtle variations in tone within the shadows.
  • →Getting lost in details before establishing the overall form.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·cadmium red light oil paint
  • ·linseed oil
  • ·assorted brushes (round and flat)

optional

  • ·palette knife
  • ·painting medium
  • ·varnish

Use a high-quality canvas and oil paints for best results. Consider using a medium to improve the flow and blending of the paint.

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related guides

oil painting for beginners →how to learn by studying the masters →
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