apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Wedding at Cana, Jesus Blesses the Water
The Wedding at Cana, Jesus Blesses the Water by Jan Cossiers

plate no. 2899

The Wedding at Cana, Jesus Blesses the Water

Jan Cossiers, 1660

canvasBaroquereligious paintingfigurestablefoodarchitecturereligious scenewedding
experienced study

Recreating this painting will help students develop skills in figure drawing, composition, and rendering light and shadow in a complex scene. It also provides practice in mixing and applying a wide range of skin tones and fabric textures.

technical profile

palette complexity
4
brushwork visibility
4
value contrast
4
compositional simplicity
1

study guide

est. 40 hrs

approach — 8 steps

  1. step 01

    Create a rough sketch to establish the overall composition and placement of figures.

  2. step 02

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

  3. step 03

    Develop the background elements, paying attention to perspective and depth.

  4. step 04

    Begin to refine the figures, focusing on accurate proportions and anatomical details.

  5. step 05

    Layer in highlights and shadows to create form and dimension.

  6. step 06

    Add details to the clothing, food, and other objects, using smaller brushes.

  7. step 07

    Glaze over areas to unify the colors and create a sense of atmosphere.

  8. step 08

    Add final highlights and details to bring the painting to life.

color palette

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

secondary · cadmium red · yellow ochre · ultramarine blue

Achieve skin tones by mixing burnt umber, raw sienna, titanium white, and small amounts of cadmium red or yellow ochre. Create shadows by adding ivory black or ultramarine blue to the base skin tone mix.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·figure drawing
  • ·composition

common pitfalls

  • →Getting lost in the details too early without establishing the overall composition.
  • →Failing to accurately capture the proportions and anatomy of the figures.
  • →Overworking the painting and losing the freshness of the brushstrokes.
  • →Not paying enough attention to the light and shadow, resulting in a flat or unrealistic image.

materials

surface · stretched canvas

required

  • ·stretched canvas 24x36
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·cadmium red oil paint
  • ·yellow ochre oil paint
  • ·assorted brushes (round, flat, filbert)

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use high-quality oil paints for best results. A medium-grit canvas will provide a good surface for layering and blending.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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