apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Pope Gregory XIII
Pope Gregory XIII by Lavinia Fontana

plate no. 2849

Pope Gregory XIII

Lavinia Fontana

oilMannerism (Late Renaissance)portraitportraitfigureclothingchairbeardhistorical
experienced study

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering fabric textures. It also provides practice in mixing subtle color variations and creating a sense of depth through value changes.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the figure and chair.

  2. step 02

    Establish the background with a dark, muted green.

  3. step 03

    Block in the main areas of color: the red robe, white garments, and skin tones.

  4. step 04

    Begin refining the facial features, paying close attention to the light and shadow.

  5. step 05

    Develop the folds and textures of the robe and garments, using layering and glazing techniques.

  6. step 06

    Add details to the chair and background, ensuring they remain secondary to the figure.

  7. step 07

    Refine the highlights and shadows to create a sense of depth and volume.

  8. step 08

    Add final details, such as the rings and the paper in the figure's hand.

color palette

primary · crimson red · ivory white · raw umber · yellow ochre

secondary · viridian green · burnt sienna · payne's gray

Mix the red robe color by combining crimson red with a touch of burnt sienna and raw umber to create depth. Use ivory white mixed with small amounts of yellow ochre and raw umber for the white garments. Skin tones can be achieved by mixing yellow ochre, crimson red, and raw umber.

techniques

  • ·portraiture
  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·fabric rendering

common pitfalls

  • →Getting the proportions of the figure wrong.
  • →Overworking the details too early in the process.
  • →Failing to create a sense of depth and volume.
  • →Using colors that are too bright or saturated.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints (crimson red, ivory white, raw umber, yellow ochre, viridian green, burnt sienna, payne's gray)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife
  • ·rags or paper towels

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use high-quality oil paints for best results. Consider using a toned canvas to make the initial stages easier.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Apollo and the Muses (Parnassus)

Apollo and the Muses (Parnassus)

Lavinia Fontana

Portrait Of Don Rodrigo Vasquez

Portrait Of Don Rodrigo Vasquez

El Greco

Madonna Bolognini

Madonna Bolognini

Correggio

The Unhappy Lot of the Rich

The Unhappy Lot of the Rich

Maerten van Heemskerck

Head of a Woman

Head of a Woman

Orazio Gentileschi

The Deposition

The Deposition

Giorgio Vasari

Portrait of a Man Holding a Letter

Portrait of a Man Holding a Letter

Francesco de' Rossi (Francesco Salviati), "Cecchino"

Portrait of the Physician Carlo Fontana

Portrait of the Physician Carlo Fontana

Bartolomeo Passerotti