apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·View of a Corridor (also known as A View Through a House)
View of a Corridor (also known as A View Through a House) by Samuel Dirksz van Hoogstraten

plate no. 3712

View of a Corridor (also known as A View Through a House)

Samuel Dirksz van Hoogstraten, 1662

oil, panelBaroqueinteriorinteriorarchitecturedogcatbirdcagecolumns
experienced study

Recreating this painting will help students develop skills in perspective, rendering textures of different materials, and creating a sense of depth through atmospheric perspective. It also requires careful observation of light and shadow to model forms.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic composition, paying close attention to perspective lines for the floor tiles, doorways, and architectural elements.

  2. step 02

    Establish the main light source and map out the areas of light and shadow.

  3. step 03

    Begin blocking in the large areas of color, starting with the background and working towards the foreground.

  4. step 04

    Develop the details of the architectural elements, such as the columns, doorways, and moldings.

  5. step 05

    Paint the floor tiles, carefully rendering the variations in color and tone to create a sense of depth.

  6. step 06

    Add the figures of the dog and cat, paying attention to their anatomy and proportions.

  7. step 07

    Paint the birdcage and the bird inside, focusing on the details of the cage's construction.

  8. step 08

    Refine the details and add any final touches, such as highlights and shadows.

color palette

primary · burnt umber · raw sienna · ivory black

secondary · titanium white · yellow ochre · cadmium red

Achieve the various shades of brown and gray by mixing burnt umber, raw sienna, ivory black, and titanium white. Use yellow ochre and cadmium red sparingly to add warmth to certain areas.

techniques

  • ·linear perspective
  • ·glazing
  • ·scumbling
  • ·atmospheric perspective
  • ·modeling

common pitfalls

  • →Incorrect perspective will ruin the illusion of depth.
  • →Overworking the details too early in the process.
  • →Not paying attention to the subtle variations in color and tone.
  • →Ignoring the importance of light and shadow in creating form.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints (burnt umber, raw sienna, ivory black, titanium white, yellow ochre, cadmium red)
  • ·linseed oil
  • ·turpentine
  • ·palette
  • ·assorted brushes (round and flat)
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use a fine-grained canvas to allow for detailed rendering. Consider using a toned ground to help establish the overall color harmony.

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