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home·artworks·Man of Sorrows with a Chalice (Christ as Redeemer)
Man of Sorrows with a Chalice (Christ as Redeemer) by Hendrick Goltzius

plate no. 5630

Man of Sorrows with a Chalice (Christ as Redeemer)

Hendrick Goltzius, 1614

panel, oil, woodMannerism (Late Renaissance)religious paintingfiguremale nudereligious figurechalicecrown of thornsdrapery
experienced study

Recreating this painting will help students develop skills in figure drawing, anatomical accuracy, and subtle blending techniques to achieve realistic skin tones. It also provides practice in rendering drapery and metallic surfaces.

technical profile

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

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Create a preliminary sketch outlining the figure's pose and proportions, paying attention to anatomical landmarks.

  2. step 02

    Establish the background with a dark, muted tone.

  3. step 03

    Block in the main areas of the figure with a mid-tone flesh color.

  4. step 04

    Begin building up highlights and shadows on the figure, focusing on the light source and anatomical forms.

  5. step 05

    Carefully blend the transitions between light and shadow to create a smooth, realistic skin tone.

  6. step 06

    Add details to the face, including the eyes, nose, mouth, and beard, paying attention to the expression.

  7. step 07

    Render the drapery with attention to folds and highlights, using a limited palette of grays and whites.

  8. step 08

    Paint the chalice, using highlights and shadows to create a metallic effect.

color palette

primary · raw umber · titanium white · yellow ochre · cadmium red light

secondary · ivory black · ultramarine blue · alizarin crimson

Mix various combinations of raw umber, yellow ochre, and titanium white to achieve different skin tones. Use ivory black and ultramarine blue for the dark background. Alizarin crimson and a touch of ivory black can create the red tones in the drapery.

techniques

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

common pitfalls

  • →Overblending, resulting in a flat, lifeless appearance.
  • →Incorrect proportions in the figure drawing.
  • →Using too much white, making the skin tones appear chalky.
  • →Ignoring the subtle color variations in the skin.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·ivory black oil paint
  • ·round brushes (various sizes)
  • ·flat brushes (various sizes)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·turpentine

Use high-quality oil paints for best results. A smooth canvas surface is recommended for easier blending.

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