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home·artworks·Les Larmes De Saint Pierre
Les Larmes De Saint Pierre by Juan Bautista Maíno

plate no. 1126

Les Larmes De Saint Pierre

Juan Bautista Maíno, 1610

oilBaroquereligious paintingfigureroosterkeydraperybeardreligious
some experience helpful

Recreating this painting will help students develop skills in rendering realistic skin tones and drapery folds using chiaroscuro. It also provides practice in depicting textures and details, such as the rooster's feathers and the key's metallic surface.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure, rooster, and key.

  2. step 02

    Establish the dark background and general light source.

  3. step 03

    Block in the main shapes of the figure and drapery with mid-tone values.

  4. step 04

    Begin layering in darker shadows to define the forms and create depth.

  5. step 05

    Add highlights to the figure, drapery, and rooster to create a sense of volume.

  6. step 06

    Refine the details of the face, hands, and feet, paying attention to anatomical accuracy.

  7. step 07

    Paint the rooster, focusing on capturing the texture and color variations of its feathers.

  8. step 08

    Add the key and refine the overall composition, adjusting values and details as needed.

color palette

primary · burnt umber · raw umber · titanium white

secondary · ultramarine blue · cadmium red · yellow ochre

Achieve the skin tones by mixing burnt umber, raw umber, and titanium white, with small amounts of cadmium red for warmth. The drapery is achieved by mixing burnt umber and yellow ochre, with white for highlights and ultramarine blue for shadows.

techniques

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

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated.
  • →Ignoring the subtle variations in skin tone.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·burnt umber oil paint
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·cadmium red oil paint
  • ·yellow ochre oil paint
  • ·assorted round and flat brushes

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·varnish

Use a medium-tooth canvas for best results. Consider using a toned ground to simplify the initial stages of painting.

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related guides

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