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home·artworks·tree of the Moscow State (praise of Our Lady of Vladimir)
tree of the Moscow State (praise of Our Lady of Vladimir) by Simon Ushakov

plate no. 7466

tree of the Moscow State (praise of Our Lady of Vladimir)

Simon Ushakov, 1668

temperaBaroquereligious paintingreligious figuresicontreeflowersarchitectureangels
experienced study

Recreating this painting will help students develop skills in layering, glazing, and creating intricate details. It also provides practice in rendering figures and decorative elements in a stylized manner.

technical profile

palette complexity
4
brushwork visibility
3
value contrast
3
compositional simplicity
2

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Prepare the surface with gesso and let it dry completely.

  2. step 02

    Lightly sketch the main composition, including the central figure, the tree branches, the medallions, and the architectural elements.

  3. step 03

    Apply a base layer of gold or ochre for the background, allowing it to dry.

  4. step 04

    Begin painting the central figure of the Virgin Mary and Child, focusing on accurate proportions and subtle shading.

  5. step 05

    Paint the medallions with the figures, paying attention to the details of their clothing and the scrolls they hold.

  6. step 06

    Add the tree branches, leaves, and roses, using a variety of greens and reds.

  7. step 07

    Paint the architectural elements at the bottom of the painting, using a pinkish hue for the walls and towers.

  8. step 08

    Add final details such as highlights, shadows, and decorative elements.

color palette

primary · ochre · brown · red · green

secondary · gold · pink · blue · white

Achieve the gold background by mixing yellow ochre with a touch of burnt sienna and white. Create the various skin tones by mixing white, yellow ochre, and a touch of red. Mix greens by combining yellow and blue, adjusting the proportions for different shades.

techniques

  • ·layering
  • ·glazing
  • ·fine detail brushwork
  • ·dry brushing
  • ·scumbling

common pitfalls

  • →Overworking the details too early in the process.
  • →Using colors that are too saturated or bright.
  • →Losing the overall composition by focusing too much on individual elements.
  • →Inaccurate proportions of the figures.

materials

surface · gessoed panel

required

  • ·Tempera paints
  • ·Gessoed panel or canvas
  • ·Fine detail brushes (various sizes)
  • ·Palette
  • ·Water for thinning paints
  • ·Soft cloth for cleaning brushes
  • ·Reference image
  • ·Pencil for sketching

optional

  • ·palette knife
  • ·retarder medium
  • ·varnish

Using high-quality tempera paints will ensure the longevity and vibrancy of the painting. A smooth, well-gessoed surface is essential for achieving fine details.

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