plate no. 7080
Death of Don Miguel de Mahara
what to study here
It shows how a three-zone value plan and a soft-edged beam against hard-edged silhouettes can direct the eye and build depth in a dark interior.
Study how the value structure carries this scene. Squint and it breaks into three zones: a very dark mass across the top (vaults, upper walls), a bright glowing rectangle in the middle (the light beam and the floor it lands on), and darker silhouettes anchoring the lower left. The beam enters from the upper right and cuts diagonally toward the figure lying in state, so the eye goes there first. Note the edge handling. The beam has very soft, diffuse boundaries that read as light through dusty air, while the kneeling mourners have harder edges where they meet the lighter ground, which separates figure from ground. The mourners are simple profile shapes with little internal modeling. The architecture is warm cream and pale beige in the lit walls and goes much darker in the vaults, and that gap is what makes the space recede. Brushwork is visible but blended, giving an illustration look rather than photographic finish.
key decision
The painter pushed the upper vaults very dark and kept the central light beam near white with soft edges, so the beam becomes the single focal point and the space recedes around it.
recreation guide
This recreation guide addresses the painting 'Death of Don Miguel de Mahara' by Carlos Saenz de Tejada, an oil work classified within the Art Nouveau (Modern) illustration genre. While specific visual details of the composition are not provided in the source texts, the technical approach is grounded in classical oil painting practices described in 'The Practice of Oil Painting' and color theory from 'Laws of Contrast of Colour'. The artist’s work likely benefits from a disciplined approach to color harmony and contrast, utilizing traditional pigments and mediums such as linseed oil and turpentine to achieve depth and luminosity. The process emphasizes the separation of tonal structure (grisaille) from color application (glazing and scumbling), a method historically favored by old masters and recommended for achieving rich, transparent effects in oil painting.
estimated time
20-30 hours over 5-7 sessions (allowing for drying times between glazing layers)
materials
10 items
steps
7 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Two whites (e.g., Lead White and Zinc White) | For mixing tints and highlights; two whites allow for different drying times and opacity levels. | Titanium White and Zinc White |
| Yellow Ochre | Earth tone for underpainting and warm mid-tones. | Natural Yellow Ochre |
| Light Red / Vermilion / Rose Madder | For flesh tones and warm accents; Rose Madder is noted for glazing. | Quinacridone Rose or Alizarin Crimson (for transparency) |
| Cobalt Blue | Cool shadows and atmospheric effects. | Cobalt Blue |
| Emerald Green / Oxide of Chromium | Green tones for foliage or drapery if applicable. | Viridian or Chromium Oxide Green |
| Raw and Burnt Umber | Earth tones for shadows and underpainting. | Raw Umber and Burnt Umber |
| Ivory Black | Deep shadows and neutralizing colors. | Ivory Black or Mars Black |
| Spirits of Turpentine | Thinner for the first painting to ensure a 'dead' dry finish that is absorbent for subsequent layers. | Odorless Mineral Spirits |
| Linseed Oil | Medium for glazing and scumbling to create transparent and semi-opaque layers. | Stand Linseed Oil or Refined Linseed Oil |
| Oil of Copavia (optional) | Historical medium mentioned by Reynolds for first and second paintings; acts as a slow-drying varnish medium. | Gum Mastic or Dammar Varnish mixed with oil |
preparation
surface prep
Prepare a rigid panel or canvas with a traditional gesso ground. The sources imply a preference for surfaces that can support multiple layers of glazing without becoming 'soapy' or overly absorbent in a way that ruins the paint film. Ensure the surface is smooth enough for fine illustration details but textured enough to hold the oil medium.
underdrawing
Given the genre is 'illustration' and the style is Art Nouveau, precise line work is likely important. However, the sources do not specify Saenz de Tejada's underdrawing method. A charcoal or thinned umber underdrawing is recommended to establish the composition before applying the monochrome underpainting.
underpainting
Create a grisaille (monochrome) underpainting using black, white, and possibly umber. This step establishes the tonal values of the composition. The source advises mentally extracting red and yellow colors to focus on the underlying structure (Source 2). This layer must be completely dry before proceeding to color.
color palette
White
Two whites (Lead/Zinc and Titanium/Zinc)
Highlights and mixing tints
Yellow Ochre
Natural Yellow Ochre
Warm earth tones and underpainting
Red Tones
Vermilion, Light Red, Rose Madder
Flesh tones and warm glazes
Blue Tones
Cobalt Blue
Cool shadows and sky elements
Green Tones
Emerald Green, Oxide of Chromium
Vegetation or cool accents
Brown/Black
Raw Umber, Burnt Umber, Ivory Black
Shadows and depth
composition
The sources do not describe the specific composition of 'Death of Don Miguel de Mahara'. However, general principles of composition suggest using lines to direct the eye toward the center and avoiding strong right angles at the corners that might distract the viewer (Source 8). The artist likely employed simultaneous contrast to harmonize colors inherent to the subject (Source 3).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the composition lightly with charcoal or thinned umber, focusing on the placement of figures and key elements.
Tip — Ensure the drawing is secure but not too dark, as it will be covered by the underpainting.
Underdrawing
underpainting
step 02
Apply a monochrome grisaille using black, white, and umber to establish all tonal values. Mentally extract red and yellow colors to focus on form and light.
Tip — Ensure this layer is completely dry before proceeding. This prevents muddying the subsequent color layers.
Grisaille
first pass
step 03
Set your palette with the recommended pigments. For the first color application, use turpentine alone as a thinner to avoid darkening the color and creating a 'soapy' surface.
Tip — Turpentine dries 'dead' and leaves the paint slightly absorbent, which helps subsequent oil layers adhere better.
Direct Painting (4 prima)
refining
step 04
Apply glazes (transparent coats of color) and scumbles (semi-opaque layers) using linseed oil. Focus on adding yellow and red tones as they occur in nature.
Tip — Glazing adds depth and luminosity, while scumbling can create a 'grey bloom' or coldness over darker grounds.
Glazing and Scumbling
step 05
Pay attention to simultaneous contrast. Adjust colors based on their interaction with adjacent hues, ensuring that the lightest tones are not lowered and darkest tones are not heightened unintentionally.
Tip — The eye may perceive colors inaccurately due to mixed contrast; step back frequently to assess true color relationships.
Simultaneous Contrast
finishing
step 06
Complete the painting by refining details and ensuring harmony between inherent colors (flesh, hair) and chosen colors (draperies, background).
Tip — Use the law of contrast to harmonize colors that are not inherent to the model, such as background elements.
Color Harmony
varnishing
step 07
Once the painting is fully dry, apply a varnish to protect the surface and enhance the depth of the glazes.
Tip — Ensure the painting is completely dry to prevent trapping solvents.
Varnishing
critical techniques
Glazing
Applying transparent coats of color over a dry underpainting to achieve depth and luminosity, as practiced by old masters.
Scumbling
Applying semi-opaque paint over a darker ground to create cool tones or a 'grey bloom' effect.
Simultaneous Contrast
Adjusting colors based on their interaction with adjacent hues to ensure accurate perception and harmony.
Turpentine Thinning
Using turpentine alone for the first painting to prevent darkening and create an absorbent surface for subsequent layers.
common pitfalls
- →Using too much oil in the first layers, which can darken the color and make the surface 'soapy' (Source 1).
- →Applying glazes before the underpainting is completely dry, leading to muddied colors (Source 2).
- →Ignoring simultaneous contrast, resulting in inaccurate color perception and disharmony (Source 3).
- →Failing to distinguish between inherent colors (fixed by the model) and chosen colors (at the painter's discretion), leading to compositional imbalance (Source 4).
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 visual details of 'Death of Don Miguel de Mahara' (e.g., figure poses, background elements, clothing patterns) are not described in the sources.
- ·Carlos Saenz de Tejada's specific personal habits or deviations from the general techniques described in the sources are not documented.
- ·The exact year of creation is not available, making it difficult to pinpoint specific period conventions beyond the general 'Art Nouveau' label.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- CHAPTER XV PAINTING IN COLOUR DIRECT FROM LIFE — applied to Palette setup, use of turpentine for first painting, and avoiding 'soapy' surfaces.
- COLOURING A MONOCHROME — applied to Grisaille underpainting, glazing, and scumbling techniques.
Laws of Contrast of Colour↗
- 315-318 — applied to Understanding simultaneous contrast and mixed contrast for accurate color perception.
- 324 — applied to Distinguishing between inherent and chosen colors for composition harmony.
The Practice and Science of Drawing↗
- ILLUSTRATING SOME OF THE LINES... — applied to General composition principles regarding line direction and corner treatment.
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 label6 dominant colors, measured
what the eye sees
A figure lies in state within a soaring Gothic church, illuminated by a dramatic shaft of golden light that pours from the upper right, cutting diagonally across the composition toward the prone body. The eye is immediately drawn to this luminous beam, which is the emotional and visual anchor of the scene. Dark silhouetted mourners kneel in the lower left foreground, their profiles sharply defined against the architectural shadows, while standing figures in lighter clothing gather around the central body. The vaulted ceiling recedes upward into deep shadow, with a small cross visible in the distant altar area, grounding the spiritual subject matter. Candelabra with flames mark the sacred space.
value structure
The painting operates on a dramatic value divide: very dark darks dominate the upper half (ceiling vaults, upper walls, shadows) and silhouetted figures, while the light beam and illuminated floor create the brightest passages. Midtones are concentrated in the architectural walls (warm cream and pale beige) and the clothing of standing figures. When you squint, you see three clear zones: a dark mass at top, a bright glowing rectangle in the middle (the light beam and its immediate floor), and moderately dark silhouettes anchoring the lower left. The overall effect is high contrast, with the light beam reading as almost pure white against deep shadow.
observed palette and mixes
#fbf8f3
Lead white or titanium white with touch of raw sienna
Brightest highlights within the light beam, brightest clothing, the illuminated floor
#f5f3f0
Lead white with raw sienna and ultramarine (minimal)
The main body of the light beam and surrounding atmospheric glow
#e1e0d3
Raw sienna mixed into white with touch of ultramarine
Illuminated architectural walls and ceiling edges, lighter garments
#b5b297
Raw sienna, ultramarine, touch of white
Midtone walls, shadowed folds in clothing, softer architectural details
#8d8f73
Ultramarine with burnt sienna, minimal white
Darker walls, deep architectural shadows, some garment shadows
#3d433b
Ultramarine, burnt sienna, burnt umber, minimal white
Silhouetted figures, ceiling vaults, deepest shadows in the composition
edges and brushwork
Edges are soft and diffused throughout, with the light beam itself having very soft, atmospheric boundaries that suggest atmospheric perspective and the volumetric quality of light filtering through dusty church air. The silhouetted figures have harder edges where they meet the lighter background, creating clear figure-ground separation. Brushwork is visible but not emphatic—blended in the architectural areas and light beam, slightly more deliberate in the figures, creating a stylized illustration quality rather than photorealism.
a working sequence
- 01
Underpainting and Value Map
Lay in a thin, quick monochromatic underpainting using burnt sienna or ultramarine diluted with linseed oil. Block the light beam as a light value (pale), the silhouetted mourners as dark values, the architectural background as mid-dark, and the standing figures and floor as medium values. Keep this loose and focus only on the value distribution and the trajectory of that dramatic diagonal light shaft from upper right to lower center.
- 02
Architectural Structure
Using mixtures of ultramarine, burnt sienna, and white, build out the church architecture—the vaulted ceiling receding upward, the tall columns framing the space, and the altar area with the cross in the far background. Emphasize the vertical lines and recession to establish depth. Keep the lit upper walls warmer (mix in more raw sienna) and the shadowed upper vaults much cooler and darker. Leave the light beam area unpainted for now.
- 03
Establish the Light Beam
Paint the light beam using near-white (lead white with minimal raw sienna), working wet-into-wet with soft brushstrokes. The edges should diffuse into the surrounding architectural shadow, creating a soft halo effect. This is your brightest warm note and the focal point—give it full attention to volume and atmosphere. The floor where the light hits should also read as quite light and warm.
- 04
Silhouetted Foreground Figures
Block in the mourning figures in the lower left as near-black silhouettes using your darkest mixture (ultramarine, burnt sienna, burnt umber with minimal white). Keep these shapes simple and profile-based; the drama comes from the contrast with the light beam behind them, not from detail. Their heads and shoulders should break the line between light and dark clearly.
- 05
Central Figure and Standing Figures
Paint the figure lying in state with lighter flesh tones (white with raw sienna and touch of ultramarine for shadow) and render the attending figures in standing positions. Use varied middling values for their clothing—some figures wear lighter garments (pale cream), others darker robes. The central body should read as illuminated by the light beam, with clear shadow on the far side. Reference how the light beam illuminates the left side of the figure and casts shadow to the right.
- 06
Candelabra and Atmospheric Details
Place the candelabra and flame details in the middle ground, reading them as warm glowing elements within the light beam's path. Use pale yellows and warm whites for the flames. Strengthen the atmospheric perspective by making distant architectural elements slightly softer and grayer than closer ones. Add subtle warm reflections on the floor from the light beam.
- 07
Refine Edges and Deepen Contrasts
Go back through with a medium round brush and soften transitions where appropriate—especially around the light beam edges and where architectural forms meet shadow. Deepen the darkest darks in the vaults and silhouettes if needed, ensuring the value contrast around the light beam reads maximally. Blend any harsh transitions in the upper architectural areas to create recession. Step back frequently to see the light effect holistically.
- 08
Final Adjustments and Luminosity
With a small round brush, add small warm highlights where the light grazes vertical surfaces (the right edge of columns, the right side of standing figures). If any part of the floor or light beam feels dull, add a touch of brighter white to reinvigorate it. Check that the eye still travels first to the light beam and the figure—if anything else is competing, subdue it with darker or grayer tones.
where studies of this painting go wrong
- Overworking the light beam edges until they become hard and graphic instead of atmospheric—resist the urge to define them sharply; they should be soft and diffuse, suggesting air and dust.
- Making the silhouetted figures too dark or too detailed—they should remain simple shapes defined primarily by their edge against the light, not by internal modeling.
- Underestimating the warm bias of the light beam and surrounding illuminated areas; if the beam reads as cool or white instead of golden, the spiritual warmth of the scene collapses.
- Losing the depth of the architectural space by not pushing the upper vaults dark enough relative to the illuminated middle section—the contrast creates the recession.
measured difficulty
- beginner friendliness
- value contrast
- palette complexity
- compositional simplicity
- brushwork visibility
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