apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Virgin in Prayer
Virgin in Prayer by Quentin Matsys

plate no. 5196

Virgin in Prayer

Quentin Matsys

oil, oakNorthern Renaissancereligious paintingfigureportraitreligioushandshaloveil
some experience helpful

Recreating this painting will help students develop skills in portraiture, glazing techniques, and rendering delicate fabrics. It also provides practice in creating a sense of depth and luminosity through subtle color variations.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Prepare a toned canvas with a neutral underpainting.

  2. step 02

    Sketch the basic composition, focusing on proportions and placement of the figure.

  3. step 03

    Block in the main areas of color: skin tones, background, clothing, and hair.

  4. step 04

    Begin layering and blending the skin tones, paying close attention to subtle variations in color and value.

  5. step 05

    Develop the details of the hair, using thin glazes to create depth and texture.

  6. step 06

    Paint the clothing and veil, focusing on the folds and drapery.

  7. step 07

    Add the halo using thin, even strokes of gold paint.

  8. step 08

    Refine the details and add final highlights and shadows.

color palette

primary · ivory black · yellow ochre · burnt umber · titanium white

secondary · ultramarine blue · cadmium yellow light · alizarin crimson

Achieve skin tones by mixing white, yellow ochre, and a touch of red and umber. Create the dark background by mixing black and blue. Use thin glazes of yellow and umber to create the golden halo.

techniques

  • ·glazing
  • ·scumbling
  • ·blending
  • ·portraiture
  • ·rendering fabric

common pitfalls

  • →Overworking the skin tones and creating a muddy effect.
  • →Failing to capture the subtle variations in color and value.
  • →Making the halo too bright or overpowering.
  • →Getting the proportions of the face wrong.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·titanium white oil paint
  • ·round brushes (sizes 0, 2, 4)
  • ·linseed oil
  • ·odorless mineral spirits

optional

  • ·palette knife
  • ·medium gloss
  • ·retouch varnish

Use high-quality oil paints for best results. Thin the paints with linseed oil for glazing.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

Aristotle

Aristotle

Justus van Gent

The Man of Sorrows with the Virgin Mary and St. John the Evangelist

The Man of Sorrows with the Virgin Mary and St. John the Evangelist

Martin Schongauer

The pride of the beggar sitting on the train of haughtiness

The pride of the beggar sitting on the train of haughtiness

Albrecht Altdorfer

Adoration of the Magi

Adoration of the Magi

Quentin Matsys

Christ on the Cross

Christ on the Cross

Albrecht Altdorfer

Frühling - Das Bereiten Der Blumenbeete

Frühling - Das Bereiten Der Blumenbeete

Pieter Brueghel the Younger

Group of Men

Group of Men

Rogier van der Weyden

Madonna and Child Holding a Pear

Madonna and Child Holding a Pear

Bernard Van Orley