apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Four Evangelists: Saint Luke
Four Evangelists: Saint Luke by Jacopo Pontormo

plate no. 3575

Four Evangelists: Saint Luke

Jacopo Pontormo, 1526

oilMannerism (Late Renaissance)religious paintingfiguresaintcapebullreligiousportrait
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions and subtle value gradations for realistic skin tones. It also offers practice in painting drapery and creating a sense of depth through layering and atmospheric perspective.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the figure, bull, and drapery within the circular format.

  2. step 02

    Establish the dark background and block in the main color areas for the figure, cape, and bull.

  3. step 03

    Begin layering the skin tones, focusing on subtle value changes to create form and dimension.

  4. step 04

    Develop the drapery, paying attention to the folds and highlights to convey the texture of the fabric.

  5. step 05

    Refine the details of the face, including the eyes, nose, and mouth, to capture the saint's expression.

  6. step 06

    Add the details of the bull, using dark tones to create depth and shadow.

  7. step 07

    Adjust the overall composition and value contrast to create a harmonious and balanced image.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · red ochre · ivory black · raw umber · titanium white

secondary · Prussian blue · yellow ochre

Mix skin tones by blending white, red ochre, and a touch of raw umber. Achieve the green-grey of the shirt by mixing black, blue, and yellow. Use thin washes of raw umber to create the dark background and the bull.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·portraiture
  • ·drapery

common pitfalls

  • →Overworking the skin tones and creating a muddy effect.
  • →Failing to establish a strong value contrast, resulting in a flat and lifeless image.
  • →Ignoring the subtle color variations in the drapery, leading to a lack of realism.
  • →Getting the proportions of the face wrong, resulting in an inaccurate likeness.

materials

surface · stretched canvas

required

  • ·Stretched canvas (circular or square)
  • ·Oil paints (red ochre, ivory black, raw umber, titanium white, Prussian blue, yellow ochre)
  • ·Palette
  • ·Assorted brushes (round and flat)
  • ·Linseed oil
  • ·Odorless mineral spirits
  • ·Palette knife
  • ·Rags

optional

  • ·Medium gloss
  • ·Retouch varnish
  • ·Easel

Use high-quality oil paints for best results. A smooth canvas surface will allow for easier blending and glazing.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Apollo and the Muses (Parnassus)

Apollo and the Muses (Parnassus)

Lavinia Fontana

Portrait Of Don Rodrigo Vasquez

Portrait Of Don Rodrigo Vasquez

El Greco

Madonna Bolognini

Madonna Bolognini

Correggio

The Unhappy Lot of the Rich

The Unhappy Lot of the Rich

Maerten van Heemskerck

Head of a Woman

Head of a Woman

Orazio Gentileschi

The Deposition

The Deposition

Giorgio Vasari

Portrait of a Man Holding a Letter

Portrait of a Man Holding a Letter

Francesco de' Rossi (Francesco Salviati), "Cecchino"

Portrait of the Physician Carlo Fontana

Portrait of the Physician Carlo Fontana

Bartolomeo Passerotti