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home·artworks·Martyrdom of St John the Evangelist at Porta Latina
Martyrdom of St John the Evangelist at Porta Latina by Charles Le Brun

plate no. 9799

Martyrdom of St John the Evangelist at Porta Latina

Charles Le Brun

oilBaroquereligious paintingfiguresmartyrdomreligious scenearchitecturecherubshistorical
experienced study

Recreating this painting will help students develop skills in figure drawing, anatomy, and creating dynamic compositions with multiple figures. It also provides practice in rendering dramatic lighting and creating a sense of depth through atmospheric perspective.

technical profile

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

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Block in the main shapes and values using thin washes of color.

  3. step 03

    Focus on establishing the light source and creating a sense of depth through value contrast.

  4. step 04

    Develop the figures, paying close attention to anatomy and proportions.

  5. step 05

    Add details to the faces and clothing, using small brushes.

  6. step 06

    Refine the background elements, such as the architecture and sky.

  7. step 07

    Add highlights and shadows to create a sense of volume and form.

  8. step 08

    Glaze thin layers of color to unify the painting and create a sense of atmosphere.

color palette

primary · burnt umber · raw sienna · titanium white · cadmium red

secondary · ultramarine blue · yellow ochre · ivory black

Achieve skin tones by mixing burnt umber, raw sienna, and titanium white. Use ultramarine blue and burnt umber to create dark shadows. Mix cadmium red and titanium white for the cherubs.

techniques

  • ·figure drawing
  • ·chiaroscuro
  • ·glazing
  • ·atmospheric perspective
  • ·alla prima

common pitfalls

  • →Incorrect proportions of figures
  • →Overworking details too early
  • →Muddying colors by overmixing
  • →Failing to establish a strong light source

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes
  • ·palette
  • ·palette knife

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use a medium-grain canvas for best results. Consider using a toned ground to help establish the overall color harmony.

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related guides

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