THE RECIPES BEHIND THREE MASTERPIECES
THE EXACT SKIN TONES INSIDE A
REMBRANDT, A CARAVAGGIO,
AND A VELAZQUEZ
Not color theory. Not a guess. Every color here is a literal pixel of the painting, sampled inside a mask I drew by hand so that no reading falls on a beard, a collar or a background - set beside what published conservation analysis says was actually on the palette.
$̶1̶9̶.̶9̶5̶ $6.95 F O R S U B S C R I B E R S · 7 2 H O U R S
Instant PDF · apply your welcome code at checkout for $6.95
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See where every reading was taken
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Get the mix in ten modern tubes
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Compare it with what he actually used
THIS IS NOT COLOR THEORY
It is a masterpiece measured, not described. For each of three paintings I show you every flesh reading sampled inside a mask drawn by hand, how to reach it with ten modern tubes, and - kept deliberately separate - what published conservation analysis says the painter actually had on his palette. The two do not fully agree, and that gap is the most useful thing in the book.
WHAT IS INSIDE
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3 MASTERPIECES FROM THE METROPOLITAN MUSEUM - Rembrandt's late self-portrait, Caravaggio's Musicians, and Velazquez's Juan de Pareja.
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38 FLESH READINGS IN TOTAL - 12 to 14 per face, each one a literal pixel sampled inside a hand-drawn mask so nothing lands on a beard, a collar, a crack or an impasto ridge.
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WHAT IS ON THE CANVAS NOW, AND WHAT WAS ON THE PALETTE THEN - the surviving surface and the documented pigments, kept on separate pages, with a plain note on what is lost in the swap and what cannot be reproduced at all.
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THE SAME TEN TUBES AS THE OTHER VOLUMES - between them they stand in for every pigment identified in these three paintings. No specialist colors.
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THE ONE FINDING THAT CHANGES HOW YOU PAINT SHADOW - not a single one of the 38 readings is cool. Not one green shadow, not one blue halftone, not one grey turn.
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THE MAP - WHERE EVERY READING WAS TAKEN
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ON THE CANVAS NOW - THE MIX FOR EACH PLANE
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ON THE PALETTE THEN - THE DOCUMENTED PIGMENTS
WHO IT IS FOR
For the painter who has stood in front of a Rembrandt and wondered what is actually in that shadow. If you have tried to reverse-engineer a master's flesh from a museum photograph and ended up guessing, this is the measurement instead of the guess.
WHY TRUST IT
I am Uri Shavit, a classically trained oil painter. For over twenty years I have taught color - to a YouTube community of more than 134,000 painters and in my own studio. Every color in this book is a literal pixel of the painting, sampled inside a mask I drew by hand. Every pigment named comes from published conservation analysis, not from my opinion.
Nothing here tells you what a master's paint looked like when it was wet. It tells you what it looks like now, and what the analysis says was in it. That is a great deal, and it is not the same thing.
THE WELCOME OFFER
$̶1̶9̶.̶9̶5̶ $6.95
Under seven dollars - less than a single tube of paint - for thirty-eight measured readings from three paintings in the Metropolitan Museum, and the documented pigments behind them. Your subscriber welcome price: apply the code from your email at checkout. 72 hours only.
When the window closes, the price returns to $19.95.
Not on the list yet? Grab the free skin-tones cheat sheet - and your welcome offer comes with it.
QUESTIONS
DO I NEED THE OTHER VOLUMES?
No. Each volume stands on its own. This one is the odd sibling - the other two open up my paintings, this one opens up three masterpieces.​
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WILL IT ACTUALLY HELP MY PAINTINGS?
Yes, if your shadows keep going cool and your flesh will not turn. Thirty-eight readings across three masters say the answer is warmth and value, not a temperature shift.​
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​WHERE DOES THE CONSERVATION DATA COME FROM?
Published analysis by museum conservation departments, not from me. Each plate names the documented pigments and maps each one to a modern tube.
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WHAT PAINTS DO I NEED?
The same ten tubes as the other volumes (Michael Harding and Winsor & Newton, Series 1), or any comparable oils. Between them they stand in for every pigment identified in these three paintings, with the honest exceptions noted on each plate.
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WHAT FORMAT IS IT?
A downloadable PDF, designed for a computer or iPad screen, not a phone. Instant download after purchase.
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CAN I PRINT IT OR SHARE IT?
Print it for your own studio use. It is a personal-use license, so please do not redistribute or resell. The three paintings themselves are public domain under the Metropolitan Museum's Open Access programme.