plate no. 0997

Ecce corpus meum (This is my body)

Antonio Sicurezza, 1969

oilPost-Impressionismreligious paintingfigurereligiousbreadhaloportraitrobe

some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing likeness and expression, and in using a limited palette to create a harmonious color scheme. It also provides practice in layering and blending oil paints to achieve subtle gradations of tone.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 12 hrs

approach — 8 steps

step 01
Sketch the basic composition, focusing on the proportions of the figure and the placement of the halo.
step 02
Block in the background with broad, flat areas of color, establishing the overall tonal range.
step 03
Begin to define the figure's form by applying layers of color to the face, hands, and robe, paying attention to the light and shadow.
step 04
Mix and apply the base color for the skin tones, gradually adding highlights and shadows to create depth and volume.
step 05
Paint the robe, using a combination of yellow and brown to create a warm, earthy tone. Add red accents to the collar and cuffs.
step 06
Carefully render the bread, paying attention to its texture and form. Use a variety of browns, yellows, and whites to capture its appearance.
step 07
Refine the details of the face, including the eyes, nose, and mouth. Use small brushes to add subtle highlights and shadows.
step 08
Add the halo using a light yellow or white, blending it softly into the background.

color palette

primary · yellow ochre · burnt umber · titanium white

secondary · cadmium red · ultramarine blue

Mix yellow ochre and burnt umber to create the base color for the robe. Add titanium white to lighten the color and create highlights. Mix cadmium red and burnt umber to create the red accents. Use ultramarine blue to cool down the background tones.

techniques

·blocking in
·layering
·blending
·scumbling
·dry brushing

common pitfalls

→Overworking the details, which can result in a stiff and unnatural appearance.
→Failing to establish a clear light source, which can make the painting look flat and lifeless.
→Using too much paint, which can make the colors muddy and indistinct.
→Not paying enough attention to the proportions of the figure.

materials

surface · stretched canvas

required

·Stretched canvas (18x24 inches)
·Oil paints (yellow ochre, burnt umber, titanium white, cadmium red, ultramarine blue)
·Palette
·Assorted brushes (round and flat)
·Linseed oil
·Odorless mineral spirits
·Palette knife
·Rags