plate no. 7963

Apostle St. Simon

oil, canvasMannerism (Late Renaissance)religious paintingfigurebookportraitreligiousbeardrobe

what to study here

It shows how a tight three-value structure, a warm and cool robe pairing, and lost-and-found edges can carry a single reading figure.

Study how much this painting does with three value groups. Per the vision analysis, the background is nearly black with only a trace of teal-green in the darkest corners, the robes sit in the mid-range, and the face and book pages form the brightest zone. Light comes from the upper left and rakes across the forehead and left cheekbone, so the highlights model the structure of the skull. The head tilts down toward the open book, which ties the lit face to the lit pages. Look at the robes: a warm ochre drapery over one shoulder against a cooler, muted green one over the other. The shadow transitions in the drapery are soft and gradual, and the brushstrokes follow the direction of the folds instead of outlining them. Edges are lost where the robe meets the dark ground and found where light separates from shadow on the face. The beard is handled with loose, directional strokes, and the book's pages read as preserved light rather than heavy paint. Copy the value plan first, then the edges.

key decision

The painter kept the background nearly black and the robes in the mid-range, so the face and book pages are the only bright zone. Warm ochre against cool green in the robes adds a quiet color contrast without competing with that focal area.

recreation guide

El Greco’s *Apostle St. Simon* (1612) is a quintessential example of his mature Mannerist style, characterized by dramatic expressionism and spiritual intensity rather than naturalistic description. The work likely features the artist’s signature elongated figures and phantasmagorical pigmentation, which marry Byzantine traditions with Western Renaissance techniques (Source 1). In his later years, El Greco sought to dramatize rather than describe, using light to convey strong spiritual emotion that transfers directly to the audience (Source 8). The painting reflects the devotional intensity of Counter-Reformation Spain, where the artist became the vital visual representative of Spanish mysticism (Source 8). The composition likely disregards strict anatomical laws in favor of expressive elongation, a trait El Greco pursued to achieve aesthetic perfection and spiritual elevation (Source 8). The use of light is not merely physical but metaphysical; figures often appear to carry their own internal light or reflect an unseen divine source, aligning with Christian Neo-Platonism (Source 8). The color palette would avoid muddy mixtures, instead utilizing the rich, dense colors achievable through oil glazing and the strategic juxtaposition of tones to create chiaroscuro effects (Source 2, Source 5).

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Linseed oil or walnut oil	Primary binder for oil paints, providing flexibility and rich color density.	Cold-pressed linseed oil
Turpentine	Thinner for initial layers and cleaning brushes.	Odorless mineral spirits or pure gum turpentine
Canvas	Support for the painting, consistent with El Greco’s mature period medium.	Linen canvas, primed with gesso
Traditional pigments (Lead White, Vermilion, Ultramarine, Earth tones)	To replicate the specific chroma and hue shifts characteristic of 17th-century oil painting.	Academy-grade oil paints
Resin (Pine or Frankincense)	To create a varnish for protection and texture, as was common practice.	Dammar varnish

preparation

surface prep

The canvas should be primed with a traditional gesso ground to provide a smooth, absorbent surface suitable for the layering techniques of the Spanish Renaissance. El Greco worked on canvas in his mature period, and the surface preparation would have allowed for the 'interweaving between form and space' that characterizes his unified painting surfaces (Source 8).

underdrawing

Sources do not explicitly detail El Greco’s underdrawing methods for this specific work. However, given his 'seemingly careless-in-execution' style which was actually a studied effort for freedom, the underdrawing was likely loose and gestural, serving as a guide for the dramatic elongation of forms rather than a rigid blueprint (Source 8).

underpainting

An underpainting (imprimatura) likely established the tonal values before the application of glazes. This aligns with the period’s practice of building up layers to achieve 'richer and denser color' (Source 5). The underpainting would have set the stage for the chiaroscuro effects, where the juxtaposition of high and low tones creates a true gradation of light (Source 2).

color palette

Vermilion/Red Ochre

Pure red pigments, potentially glazed over darker tones.

Draperies and flesh tones, avoiding the hue shift caused by mixing with black (Source 4).

Ultramarine/Blue

Lapis lazuli or azurite based blues.

Contrasting draperies or background elements to enhance luminosity through simultaneous contrast (Source 6).

Lead White

Pure white pigment.

Highlights and flesh tones, used carefully to avoid shifting hues toward blue when lightening reds (Source 4).

Earth Tones (Umber/Ochre)

Natural earth pigments.

Shadows and background, providing the 'lowest tone' bands that heighten the contrast of lighter areas (Source 2).

composition

The composition likely features elongated figures that disregard natural anatomical proportions to serve expressive and aesthetic principles (Source 8). The figure of St. Simon would be positioned to emphasize verticality, possibly interacting with the space in a way that unifies the painting surface (Source 8). The use of light is dramatic, with the figure potentially appearing to emit its own light, creating a sense of weightlessness and spiritual presence (Source 7, Source 8).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the elongated form of the Apostle, emphasizing vertical lines and exaggerated proportions.
Tip — Focus on the 'tortuously elongated' nature of the figure rather than strict anatomy (Source 1).
Gestural underdrawing

underpainting

step 02
Apply a thin layer of earth tones to establish the basic light and shadow structure.
Tip — Ensure the contrast between high and low tones is established early to facilitate chiaroscuro (Source 2).
Imprimatura

first pass

step 03
Block in the main colors of the drapery and flesh, using pure pigments where possible.
Tip — Avoid mixing colors with black to prevent unwanted hue shifts; use complementary colors to darken if necessary (Source 4).
Direct painting

refining

step 04
Apply glazes to deepen colors and create luminosity, particularly in the shadows and rich fabrics.
Tip — Use oil glazes to achieve the 'richer and denser color' characteristic of El Greco’s mature style (Source 5).
Glazing

finishing

step 05
Enhance the highlights and the internal light of the figure, ensuring the face and hands convey spiritual emotion.
Tip — The figure should appear to carry its own light, reflecting an unseen divine source (Source 8).
Chiaroscuro

varnishing

step 06
Apply a resin-based varnish to protect the painting and unify the surface sheen.
Tip — This step provides protection and texture, consistent with period practices (Source 5).
Varnishing

critical techniques

Elongation

El Greco deliberately elongated figures to serve expressive purposes and aesthetic principles, disregarding natural laws (Source 8).

Chiaroscuro

The juxtaposition of high and low tones creates a gradation of light, enhancing the dramatic effect (Source 2).

Glazing

Layering transparent oil paints to achieve rich, dense colors and luminosity (Source 5).

Simultaneous Contrast

Placing contrasting colors in close proximity to enhance visual intensity and luminosity (Source 6).

common pitfalls

→Mixing colors with black, which can cause undesirable hue shifts (e.g., reds shifting toward blue) (Source 4).
→Over-emphasizing naturalistic anatomy, which contradicts El Greco’s expressive elongation (Source 8).
→Failing to establish strong tonal contrast, resulting in a flat appearance rather than the desired chiaroscuro effect (Source 2).
→Ignoring the spiritual intensity of the subject, leading to a merely descriptive rather than dramatic portrayal (Source 8).

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·Specific details of St. Simon’s iconography (e.g., attributes, exact pose) are not described in the sources.
·The exact color palette used for this specific painting is not detailed; general El Greco practices are inferred.
·The specific preparatory sketches or underdrawing techniques for this work are not documented in the provided sources.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

Laws of Contrast of Colour↗
- Chiaroscuro and Contrast — applied to Technique of chiaroscuro and tonal juxtaposition.

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia bio — El Greco — part 1↗
- Background and Style — applied to Overview of El Greco’s style, elongation, and pigmentation.
Wikipedia bio — El Greco — part 8↗
- Mature Style — applied to Elongation, spiritual emotion, and use of light.
Wikipedia: Color theory↗
- Color Mixing — applied to Avoiding hue shifts when darkening colors.
Wikipedia: Oil painting↗
- Techniques — applied to Use of oil glazes and varnishing.
Wikipedia: Divisionism↗
- Simultaneous Contrast — applied to Enhancing luminosity through color contrast.

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

An elderly, bearded apostle bent in contemplative study over an open book, lit from the upper left by a strong, warm light source that rakes across his face and illuminates the white pages below. His head tilts downward in engaged reading, the face becoming the primary focal point through both positioning and light—the forehead and left cheekbone catch bright, warm highlights that model the skull's structure. The figure is set against an almost-black background that reads as deep teal-green only in the darkest corners, creating dramatic separation. A warm-toned ochre robe drapes his left shoulder while a cooler, muted green garment covers his right, establishing a quiet color conversation that anchors the composition.

value structure

Extreme value contrast anchors the painting: nearly black background (so dark it reads almost as solid shadow) against a brightly lit figure. The face is the lightest zone, with cream-and-warm-ochre tones that sit well above mid-tone. The drapery sits in a medium range, subdividing into light-struck warm yellows and deeper shadow areas in muted greens and browns. The beard bridges face and robe through warm-brown mid-tones. Squint and you see three clear groups: the near-black background, the mid-tone robes, and the bright face-and-pages focal zone. Shadow transitions on the drapery are soft and gradual, not abrupt.

observed palette and mixes

#141c26
Ivory black with touch of viridian and raw umber
Deep background, darkest folds of drapery, beard shadow
#d2c796
Titanium white, yellow ochre, raw umber
Face highlights, forehead, left cheekbone, warm light on robe and book pages
#6c6b52
Yellow ochre, raw umber, touch of white
Mid-tone warm robe on left shoulder, beard substance, book shadows
#25262b
Ivory black with viridian
Dark green robe on right shoulder, shadow side of face
#1c2229
Ivory black, viridian, touch of raw umber
Background, darkest drapery folds, deep shadow under beard

edges and brushwork

Edges are lost and found throughout—soft where robe meets black background, more defined where light sharply separates from shadow on the face. Brushwork is confident and gestural, especially visible in the drapery where strokes follow the direction of folds rather than outline them. The face combines soft blending in shadow areas with slightly more definition at light boundaries. Beard is rendered with loose, directional strokes that suggest texture without overworking; the book's white pages are preserved through reserve, not painted on top.

a working sequence

01
Establish the value underpainting
Sketch the figure's basic proportions lightly, then block in the composition with a thin, warm-toned wash (raw umber and white) for the figure mass and a darker mix for the background. Indicate where the brightest lights will fall—face and book pages—by leaving canvas bare or very pale. This warm undertone will influence all subsequent layers and unify the palette.
02
Build the nearly-black background
Mix your darkest dark from ivory black plus a touch of viridian and raw umber to create depth without pure black flatness. Apply this around the entire figure in broad, loose strokes. Leave the figure untouched so far. The background should feel almost atmospheric—not uniformly flat, but with subtle teal and brown undertones visible if you're looking closely. Don't rush this; it's the silent partner that makes everything else sing.
03
Establish facial form and features
Work the head with warm ochre and cream highlights on the forehead, cheekbone, and nose bridge where light is strongest. Use raw umber and darker warm tones for shadow planes under the chin, cheekbones, and one side of the nose. The light comes from upper left, so the right side of the face recedes into softer shadow. Block in the eye sockets and beard area with warm-brown mid-tones; avoid detail—work form through value first. The face is tilted downward slightly, engaged with the book below.
04
Develop the contrasting robes
Paint the left robe (viewer's left, figure's right shoulder) in warm ochre and cream tones where light strikes, moving into warm brown shadow. The right robe (figure's left shoulder) is a cool, muted green—mix viridian with raw umber and white to get a desaturated, quiet tone. The color contrast between warm and cool is essential to the painting's spatial and emotional pull. Establish major folds with value shifts, not outline, letting edges soften where drapery recedes into shadow.
05
Paint the book and hands
Reserve the white pages—don't paint them; let the white canvas read as light. Block in the book's form with warm cream and tan tones on the lit pages and dark brown (raw umber plus black) in the shadowed spine and cover. The hands should be suggested more than detailed; use warm mid-tones on the lit surfaces and darker browns in shadow. The hands anchor the figure's reading posture and guide the viewer's gaze into the book.
06
Refine facial features and beard texture
Add subtle warm and cool undertones to the shadow planes of the face. The beard is warm tan and brown in light, receding to cooler shadow underneath. Use soft brushwork and blending—the beard should read as texture through value gradation, not individual hair strokes. Ensure the eye sockets are deep enough to ground the gaze downward. A hint of reflected light in the shadow side keeps the face three-dimensional without being obvious.
07
Soften and integrate edges
Walk around the figure's silhouette, selectively softening edges where the robe dissolves into the dark background and where drapery folds turn away into shadow. Keep edges sharper where light and dark meet decisively (face against background, book pages). Use the background color to gently feather the robe edges; this is not a hard outline. The softer edges create atmospheric depth and let the eye rest on the focal face and pages.
08
Final color and value adjustments
Step back frequently and assess overall value relationships. The background should feel nearly black; the face should be clearly the brightest zone. Add a final touch of viridian or cooler tone to the right robe if it needs to recede further. Warm the ochre tones in the left robe or book shadow if they're reading too cool. Small adjustments in the subtlest mid-tones often unify the entire painting. The goal is a quiet, contemplative mood through restrained color and confident value control.

where studies of this painting go wrong

Making the background too blue or too green instead of nearly black—it should read as atmospheric darkness with only subtle cool undertones, almost neutral in color but definitely not a declared hue.
Overworking or overdefining the face in pursuit of likeness—the power of this painting lives in loose, confident brushwork and value modeling, not photographic detail. Let edges soften and blur in shadow.
Losing the warm-versus-cool color dialogue between the two robes—the left robe's golden ochre and the right robe's muted green are not incidental; they create spatial recession and visual interest. Commit to the temperature difference.
Painting the beard as dark brown throughout instead of showing how warm ochre light transforms it on the lit side—the beard must shift in value AND warmth, not just value alone.
Treating the book as a brown rectangle instead of a 3D form with light, shadow, and structure—the white pages must be preserved as the brightest area after the face, and the spine/cover must show convincing shadow and depth.

measured difficulty