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home·artworks·Apostle St. Matthew
Apostle St. Matthew by El Greco

plate no. 3429

Apostle St. Matthew

El Greco, 1612

oil, canvasMannerism (Late Renaissance)religious paintingfiguresaintbookbeardrobereligious
experienced study

Recreating this painting will help students develop skills in portraiture, particularly in capturing the likeness and expression of a figure, as well as understanding the use of light and shadow to create depth and form. Students will also learn to blend colors and create a sense of atmosphere.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Establish the background with a dark, muted color.

  3. step 03

    Block in the main shapes of the figure, using simplified color masses for the skin, robe, and clothing.

  4. step 04

    Begin to refine the facial features, paying close attention to the light and shadow on the face and beard.

  5. step 05

    Develop the folds and drapery of the robe, using a combination of blending and visible brushstrokes.

  6. step 06

    Add details to the book and hands, paying attention to the texture and form.

  7. step 07

    Refine the overall composition, adjusting the values and colors as needed.

  8. step 08

    Add final highlights and details to bring the painting to life.

color palette

primary · ivory black · raw umber · titanium white · Prussian blue

secondary · yellow ochre · burnt sienna · cadmium red light

Achieve the skin tones by mixing white, yellow ochre, and a touch of red. The blue robe is a mix of Prussian blue and white, with touches of raw umber to darken the shadows. The robe is a mix of white, burnt sienna, and yellow ochre.

techniques

  • ·Underpainting
  • ·Chiaroscuro (light and shadow)
  • ·Glazing
  • ·Scumbling
  • ·Portraiture

common pitfalls

  • →Getting the proportions wrong in the initial sketch.
  • →Over-blending the colors, resulting in a muddy appearance.
  • →Failing to capture the likeness and expression of the figure.
  • →Ignoring the importance of light and shadow in creating depth and form.

materials

surface · stretched canvas

required

  • ·Stretched canvas (16x20 inches)
  • ·Oil paints (ivory black, raw umber, titanium white, Prussian blue, yellow ochre, burnt sienna, cadmium red light)
  • ·Palette
  • ·Assorted brushes (round and flat)
  • ·Linseed oil
  • ·Odorless mineral spirits
  • ·Palette knife
  • ·Rags

optional

  • ·Medium (e.g., Liquin)
  • ·Varnish

Use high-quality oil paints for best results. A medium can be added to the paints to improve flow and drying time.

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