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home·artworks·Penitent St. Jerome
Penitent St. Jerome by Albrecht Altdorfer

plate no. 3812

Penitent St. Jerome

Albrecht Altdorfer, 1507

oil, woodNorthern Renaissancereligious paintingfigurelandscapetreeslionmountainsbuilding
experienced study

Recreating this painting will help students develop skills in rendering complex textures, such as foliage and fur, and understanding atmospheric perspective to create depth in a landscape. It also provides practice in depicting the human form with accurate proportions and subtle shading.

technical profile

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

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Create a preliminary sketch outlining the main elements: figure, lion, trees, landscape.

  2. step 02

    Establish the background landscape with a thin wash of greens and blues, paying attention to atmospheric perspective.

  3. step 03

    Block in the main shapes of the trees and foliage, using darker tones for shadows and lighter tones for highlights.

  4. step 04

    Begin to define the figure of St. Jerome, focusing on accurate proportions and anatomical details.

  5. step 05

    Add the lion, paying attention to the fur texture and facial features.

  6. step 06

    Refine the details of the drapery, creating folds and shadows to give it volume.

  7. step 07

    Add final highlights and details to the foliage, figure, and lion.

  8. step 08

    Glaze with thin layers of color to unify the painting and create depth.

color palette

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

secondary · sap green · ultramarine blue · raw sienna

Achieve the earthy tones by mixing burnt umber, yellow ochre, and titanium white. Use ultramarine blue and burnt umber to create dark greens for the foliage. Mix cadmium red with burnt umber and white for the drapery.

techniques

  • ·glazing
  • ·scumbling
  • ·dry brushing
  • ·chiaroscuro
  • ·atmospheric perspective

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Inaccurate proportions in the figure.
  • →Ignoring atmospheric perspective in the landscape.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints (burnt umber, yellow ochre, titanium white, cadmium red, sap green, ultramarine blue, raw sienna)
  • ·linseed oil
  • ·turpentine
  • ·assorted round and flat brushes
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·retouch varnish
  • ·medium gel

Use high-quality oil paints for best results. Allow each layer to dry before applying the next glaze.

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