in the steps of the pre-raphaelites

The Pre-Raphaelites were a secret society of young artists (and one writer), founded in London in 1848. They were opposed to the Royal Academy’s promotion of the ideal as exemplified in the work of Raphael

Inspired by the theories of John Ruskin, who urged artists to ‘go to nature’, they believed in an art of serious subjects treated with maximum Realism. Their principal themes were initially religious, but they also used subjects from literature and poetry, particularly those dealing with love and death. They also explored modern social problems.

Its principal members were William Holman Hunt, John Everett Millais, and Dante Rossetti

This workshop explores the painting methods that gave the Pre-Raphaelites their remarkable luminosity, rich color, exquisite detail, and poetic atmosphere. Students will learn a structured, layered approach that builds the painting gradually—from a carefully designed monochromatic foundation to transparent glazes and refined details.

We will also include "William Waterhouse" and "Federick Leighton" as some of the greatest artists influenced by this brotherhood.

By reproducing one of these beautiful works of art, we will explore their exquisite technique and secrets.

workshop schedule

Five-Day Oil Painting Workshop

Day 1 – Drawing Transfer & Brown Underpainting

Morning

Introduction to the Pre-Raphaelite movement
Composition, symbolism, and narrative
Materials and pigments
Surface preparation
Accurate transfer of the drawing

Afternoon

Establishing the monochromatic underpainting in warm browns
Organizing the value structure
Simplifying forms into light and shadow
Building volume through transparent earth colors
Preparing the painting for color

Objectives

Accurate drawing
Strong value relationships
Solid structural foundation

⸻

Day 2 – First Color Layer (Dead Color)

Morning

Understanding the purpose of the dead color stage
Creating local color without full saturation
Controlling temperature relationships
Preserving the value structure

Afternoon

Blocking in the entire painting
Establishing flesh tones, fabrics, landscape, and background
Maintaining harmony while avoiding excessive detail

Objectives

Complete first color pass
Unified color relationships
Controlled chroma

⸻

Day 3 – Development

Morning

Refining forms
Developing transitions
Strengthening color relationships
Introducing richer chroma

Afternoon

Building depth through additional opaque layers
Modeling facial features
Developing fabrics, flowers, hair, and natural elements
Improving edges and atmospheric effects

Objectives

Increase realism
Strengthen color harmony
Develop the visual hierarchy

⸻

Day 4 – Further Development & Refinement

Morning

Refining anatomy and portrait likeness
Enhancing textures
Balancing edges
Adjusting values and color temperatures

Afternoon

Developing decorative passages
Creating convincing botanical details
Refining hands, fabrics, jewelry, and secondary elements
Final corrections before glazing

Objectives

High level of finish
Rich surface quality
Cohesive visual design

⸻

Day 5 – Glazing & Final Details

Morning

Transparent glazing techniques
Increasing depth and luminosity
Enriching shadows
Unifying color passages

Afternoon

Final highlights
Hair strands, eyelashes, embroidery, floral accents, and subtle textures
Edge refinement
Surface evaluation
Varnishing recommendations
Group critique and discussion

Objectives

Achieve luminous color
Refine the finest details
Complete a polished painting inspired by the Pre-Raphaelite tradition

⸻

Throughout the Workshop, Students Will Learn

The layered painting process used by nineteenth-century academic and Pre-Raphaelite painters
Accurate drawing and value organization
Brown underpainting techniques
Dead color (ébauche) methodology
Color temperature control
Creating luminous skin tones
Painting botanical elements with precision
Rendering fabrics, hair, and ornamental details
Glazing techniques for depth and brilliance
Edge control and atmospheric unity
Finishing methods for exhibition-quality paintings

materials list

Oil colors:

•Lead or Cremnitz white (recommended), Titanium White (or Titanium/Zinc)
•Naples yellow
•Cadmiun Yellow light
•Yellow Ochre

•Cadmiub Orange (optional)
•Cadmiun Red Med
•Alizarin Crimson (or rose madder)
•Burnt Sienna (or transparent oxide red)
•Raw Umber
•Burnt Umber
•Ultramarine Blue (French or deep)
•Cobalt blue
•Cobalt violet (optional)
•Viridian

•Emerald green (optional)

Brushes:

•Bristles:

Rounds #2, 4, 6

Filberts #2, 4, 6

•Soft (sable or synthetic:

Rounds #0, 2, 4

Filberts #2, 4

Medium:

•Linseed oil. (or walnut oil)
•Winsor and Newton Liquin. (For glazings)
•Odorless Mineral spirits for cleaning the brushes (with a cup or container)
(“No turpentine allowed in the studio”)

Canvases:

•One 18” x 24’’ or 20”x 16”

Canvas panels are also ok.
Centurion brand, oil primed linen recommended.

•Palette knife.
•paper towel
•palette
•mineral spirits (odorless)