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home·artworks·Last Supper (Coburg Panel)
Last Supper (Coburg Panel) by Matthias Grünewald

plate no. 1365

Last Supper (Coburg Panel)

Matthias Grünewald, 1500

wood, temperaNorthern Renaissancereligious paintingfigurestablereligious sceneinteriorfoodrobes
experienced study

Recreating this painting will help students understand how to depict figures in a complex composition and how to create depth and atmosphere with limited color variations. It also provides practice in rendering drapery and facial expressions.

technical profile

palette complexity
3
brushwork visibility
3
value contrast
4
compositional simplicity
2

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of figures and the table.

  2. step 02

    Establish the dark background using a thin wash of dark brown or black.

  3. step 03

    Block in the main colors of the figures' robes and skin tones.

  4. step 04

    Begin layering colors to create depth and form, paying attention to light and shadow.

  5. step 05

    Refine the details of the faces and hands, adding subtle variations in color and tone.

  6. step 06

    Add details to the table and food, using highlights to create a sense of realism.

  7. step 07

    Glaze the entire painting with a thin layer of medium to unify the colors and add depth.

  8. step 08

    Add final highlights and details as needed.

color palette

primary · yellow ochre · burnt umber · red ochre · titanium white

secondary · viridian · ultramarine blue

Mix various shades of skin tones using yellow ochre, burnt umber, red ochre, and white. Create greens by mixing viridian with yellow ochre. Achieve depth by layering thin glazes of burnt umber.

techniques

  • ·layering
  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·underpainting

common pitfalls

  • →Overworking the paint and losing the freshness of the initial layers.
  • →Failing to establish a strong value structure early on.
  • →Getting bogged down in details before establishing the overall composition.
  • →Using colors that are too saturated and not harmonizing with the overall palette.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints (yellow ochre, burnt umber, red ochre, titanium white, viridian, ultramarine blue)
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use high-quality oil paints for best results. Consider using a toned canvas to help establish the value structure early on.

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