apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Woman Playing the Lute
Woman Playing the Lute by Hendrick Terbrugghen

plate no. 3603

Woman Playing the Lute

Hendrick Terbrugghen, 1626

oil, canvasTenebrismgenre paintingfigurelutemusicclothingsheet musicportrait
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly rendering skin tones and fabric, as well as understanding dramatic lighting and shadow (tenebrism). Students will also learn to depict textures of different materials like wood and paper.

technical profile

palette complexity
3
brushwork visibility
3
value contrast
5
compositional simplicity
3

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch outlining the main shapes: the figure, lute, and sheet music.

  2. step 02

    Establish the dark background using a thin wash of dark brown or black.

  3. step 03

    Block in the main areas of color: skin tones, fabric, lute wood, and sheet music.

  4. step 04

    Focus on the light source and begin building up highlights on the figure and lute.

  5. step 05

    Develop the shadows, paying attention to the subtle gradations in tone.

  6. step 06

    Add details to the face, hands, and lute, refining the shapes and adding texture.

  7. step 07

    Paint the patterns on the fabric and the details on the sheet music.

  8. step 08

    Add final highlights and shadows to create depth and dimension.

color palette

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

secondary · cadmium red · ultramarine blue · yellow ochre

Skin tones can be achieved by mixing white, yellow ochre, and a touch of red. Shadows are created by adding burnt umber or raw umber to the skin tone mixture. The lute wood is a mix of raw umber and burnt umber with highlights of yellow ochre.

techniques

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

common pitfalls

  • →Overblending, resulting in a loss of form and texture.
  • →Inaccurate proportions in the figure or lute.
  • →Ignoring the subtle color variations in the shadows.
  • →Getting the values wrong, which can flatten the image.

materials

surface · stretched canvas

required

  • ·stretched canvas (18x24 inches)
  • ·oil paints (ivory black, raw umber, burnt umber, titanium white, cadmium red, ultramarine blue, yellow ochre)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·palette
  • ·assorted brushes (round and flat)
  • ·palette knife

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use high-quality oil paints for best results. Consider using a toned canvas to help establish the dark background.

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

St. Simon

St. Simon

Georges de la Tour

St. Bartholomew

St. Bartholomew

Jusepe de Ribera

Heraclitus

Heraclitus

Hendrick Terbrugghen

The Calling of St. Matthew

The Calling of St. Matthew

Hendrick Terbrugghen

The Triangle Player

The Triangle Player

Georges de la Tour

Glowers in a sculpted vase on a stone plinth

Glowers in a sculpted vase on a stone plinth

Mario Nuzzi

St. Jerome

St. Jerome

Jusepe de Ribera

A Mother Entrusting Her Sons to Christ

A Mother Entrusting Her Sons to Christ

Mattia Preti