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home·artworks·Angel (fragment of the Baronci altarpiece)
Angel (fragment of the Baronci altarpiece) by Raphael

plate no. 3385

Angel (fragment of the Baronci altarpiece)

Raphael, 1500

oil, canvasHigh Renaissancereligious paintingfigureangelportraitreligioushairclothing
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in rendering skin tones and subtle gradations of light and shadow. It also provides practice in depicting drapery and hair.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the angel's head, shoulders, and drapery.

  2. step 02

    Establish the main light and shadow areas using a thin wash of burnt umber or a similar neutral tone.

  3. step 03

    Begin layering in skin tones, starting with mid-tones and gradually adding highlights and shadows.

  4. step 04

    Paint the hair, paying attention to the direction of the curls and the way light reflects off them.

  5. step 05

    Block in the colors of the drapery, focusing on the folds and highlights.

  6. step 06

    Add details to the clothing, such as the decorative border around the neckline.

  7. step 07

    Refine the background, ensuring it complements the figure without distracting from it.

  8. step 08

    Add final highlights and shadows to enhance the sense of depth and realism.

color palette

primary · titanium white · burnt sienna · yellow ochre · cadmium red

secondary · ultramarine blue · ivory black · viridian green

Skin tones are achieved by mixing white, yellow ochre, and a touch of red. Shadows are created by adding burnt sienna and a small amount of blue. The drapery colors are muted and earthy, achieved by mixing primary colors with white and black.

techniques

  • ·glazing
  • ·scumbling
  • ·blending
  • ·chiaroscuro
  • ·portraiture

common pitfalls

  • →Overmixing colors, resulting in muddy tones.
  • →Failing to establish a strong value structure early on.
  • →Getting lost in details before establishing the overall form.
  • →Ignoring the subtle shifts in color within the skin tones.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·burnt sienna oil paint
  • ·yellow ochre oil paint
  • ·cadmium red oil paint
  • ·round brushes (sizes 0, 2, 4)
  • ·flat brushes (sizes 4, 6)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·turpentine

Use high-quality oil paints for best results. A smooth canvas surface is recommended for easier blending.

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oil painting for beginners →how to learn by studying the masters →
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