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home·artworks·Evangelist St. Matthew and the Angel
Evangelist St. Matthew and the Angel by Guido Reni

plate no. 2684

Evangelist St. Matthew and the Angel

Guido Reni, 1640

oil, canvasBaroquereligious paintingfigureangelbookwritingreligiousportrait
experienced study

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones, as well as understanding chiaroscuro and creating depth through value changes.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Create a preliminary sketch to establish the composition and proportions of the figures.

  2. step 02

    Block in the main shapes and areas of light and shadow with thin washes of color.

  3. step 03

    Begin building up the skin tones, layering colors and blending carefully to create smooth transitions.

  4. step 04

    Pay close attention to the highlights and shadows on the faces to create a sense of depth and volume.

  5. step 05

    Develop the details of the clothing and the book, adding texture and subtle variations in color.

  6. step 06

    Refine the features of the faces, paying attention to the eyes, nose, and mouth.

  7. step 07

    Add the final details, such as the quill pen and the writing in the book.

  8. step 08

    Glaze with thin layers to unify the colors and add depth.

color palette

primary · raw umber · titanium white · yellow ochre

secondary · burnt sienna · cadmium yellow · ivory black

Achieve skin tones by mixing white, yellow ochre, and a touch of red or burnt sienna. Use raw umber and black to create shadows and depth.

techniques

  • ·chiaroscuro
  • ·glazing
  • ·portraiture
  • ·blending
  • ·layering

common pitfalls

  • →Over-blending, resulting in a flat, lifeless appearance.
  • →Incorrect proportions of the figures.
  • →Failing to capture the likeness of the subjects.
  • →Using too much paint in the initial layers.
  • →Ignoring subtle color variations in the skin tones.

materials

surface · stretched canvas

required

  • ·Stretched canvas (18x24 inches)
  • ·Oil paints (raw umber, titanium white, yellow ochre, burnt sienna, cadmium yellow, ivory black)
  • ·Linseed oil
  • ·Odorless mineral spirits
  • ·Assorted brushes (round and flat)
  • ·Palette
  • ·Palette knife
  • ·Rags

optional

  • ·Retouch varnish
  • ·Medium gloss
  • ·Easel

Use high-quality oil paints for best results. Allow each layer to dry before applying the next.

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related guides

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