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home·artworks·Life of St Benedict, Scene 13. Benedict Frees a Monk
Life of St Benedict, Scene 13. Benedict Frees a Monk by Il Sodoma

plate no. 6349

Life of St Benedict, Scene 13. Benedict Frees a Monk

Il Sodoma, 1508

frescoHigh Renaissancereligious paintingfiguresarchitecturereligious scenedemonlandscapecourtyard
some experience helpful

Recreating this painting will develop skills in figure drawing, architectural perspective, and creating atmospheric perspective to suggest depth. Students can also practice rendering drapery and subtle color variations in light and shadow.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the overall composition and placement of figures and architectural elements.

  2. step 02

    Establish the horizon line and vanishing points for the perspective of the buildings and courtyard.

  3. step 03

    Block in the main shapes and colors of the background landscape and sky.

  4. step 04

    Paint the architectural structures, paying attention to the light and shadow to create depth.

  5. step 05

    Begin painting the figures, starting with the underpainting to establish the form and proportions.

  6. step 06

    Add details to the figures, including drapery folds, facial features, and hands.

  7. step 07

    Paint the demon figure, using a limited palette of reds and browns.

  8. step 08

    Add final details and highlights to the entire painting, adjusting values and colors as needed.

color palette

primary · yellow ochre · raw umber · titanium white

secondary · burnt sienna · ultramarine blue · cadmium red light

Achieve the muted tones by mixing earth pigments with white and small amounts of blue or red. Use glazes of diluted color to create subtle variations in tone and shadow.

techniques

  • ·glazing
  • ·atmospheric perspective
  • ·figure drawing
  • ·linear perspective
  • ·drapery rendering

common pitfalls

  • →Incorrect proportions of figures
  • →Inaccurate perspective of architecture
  • →Overly saturated colors
  • →Lack of depth in the landscape

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·gesso
  • ·acrylic primer
  • ·yellow ochre oil paint
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·#2 round brush
  • ·#6 flat brush

optional

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

Use a smooth canvas surface to allow for blending and glazing techniques. Consider toning the canvas with a thin wash of raw umber before beginning.

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