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home·artworks·Holy Family (Barberini)
Holy Family (Barberini) by Andrea del Sarto

plate no. 8799

Holy Family (Barberini)

Andrea del Sarto, 1528

oil, panelMannerism (Late Renaissance)religious paintingfiguresreligiousfamilydraperyhalolandscape
experienced study

This painting offers practice in rendering human figures with soft, realistic skin tones and creating depth through subtle value changes. Students can also learn to depict drapery and fabric folds convincingly.

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

    Create a preliminary sketch outlining the main figures and their relative positions.

  2. step 02

    Block in the main shapes and colors, focusing on the overall composition.

  3. step 03

    Establish the light source and begin building up the values, starting with the darkest areas.

  4. step 04

    Refine the skin tones, paying close attention to the subtle transitions and highlights.

  5. step 05

    Develop the drapery, focusing on the folds and shadows to create a sense of volume.

  6. step 06

    Add details to the faces, including the eyes, nose, and mouth.

  7. step 07

    Paint the background with soft, blended strokes to create a sense of depth.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · burnt umber · raw sienna · titanium white · alizarin crimson

secondary · ultramarine blue · yellow ochre

Achieve skin tones by mixing white, sienna, and crimson, adjusting the ratios for highlights and shadows. Use ultramarine blue to cool down the shadows and add depth.

techniques

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

common pitfalls

  • →Overworking the skin tones, resulting in a muddy or unnatural appearance.
  • →Failing to create sufficient contrast between light and shadow, leading to a flat image.
  • →Ignoring the subtle color variations in the drapery, resulting in a lifeless effect.
  • →Getting the proportions of the figures wrong.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints (burnt umber, raw sienna, titanium white, alizarin crimson, ultramarine blue, yellow ochre)
  • ·linseed oil
  • ·turpentine
  • ·palette
  • ·assorted brushes (round and flat)
  • ·palette knife
  • ·rags

optional

  • ·medium (e.g., Liquin)
  • ·varnish

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

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