plate no. 3554

Portrait of Pope Pius V

oil, canvasMannerism (Late Renaissance)portraitportraitfigurerobebookchairreligious figure

recreation guide

Portrait of Pope Pius V (1605) by El Greco is a late work that exemplifies the artist’s mature Mannerist style, characterized by elongated figures and a distinctive, often phantasmagorical use of color (Source 4). El Greco’s approach to portraiture and religious subjects was deeply influenced by his Venetian apprenticeship under Titian, which provided him with a chromatic framework, and his Roman period, where he absorbed Mannerist elements such as violent perspective and twisted gestures (Source 3). The painting likely reflects his personal artistic views, which often diverged from contemporary norms, as he sought to distinguish himself through unusual interpretations of traditional subjects (Source 3). His style is noted for marrying Byzantine traditions with Western painting techniques, resulting in a dramatic and expressionistic aesthetic that was puzzling to his contemporaries but is now regarded as a precursor to Expressionism (Source 4).

estimated time

40-60 hours over 8-12 sessions

materials

7 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paint (various pigments)	Primary medium for painting	—
Linseed oil or poppy seed oil	Binder for pigments; provides flexibility and rich color	Cold-pressed linseed oil
Turpentine	Thinner for paint and cleaner for brushes	Odorless mineral spirits
Canvas	Support for the painting	Linen or cotton canvas
Gesso	Ground preparation for the canvas	Acrylic gesso or traditional rabbit-skin glue gesso
Varnish (e.g., oil of copavia or dammar)	Glazing medium and final protection	Dammar varnish or synthetic resin varnish
Pigments: White lead, ultramarine, black, red ochre, yellow ochre	Core palette for underpainting and glazing, consistent with old master practices	Titanium white (for safety), synthetic ultramarine, ivory black, natural earth pigments

preparation

surface prep

The canvas should be primed with a gesso ground to create a smooth, absorbent surface suitable for oil painting. While specific details of El Greco’s ground preparation are not explicitly detailed in the sources, the use of oil on canvas was standard for the period (Source 5). The ground should be allowed to dry completely before painting begins.

underdrawing

El Greco’s preparatory methods are not explicitly described in the provided sources. However, given his Mannerist style and the complexity of his compositions, a light underdrawing in charcoal or thinned oil likely guided the placement of figures and drapery. The sources note that he left few clues to preparatory methods in some contexts, so this step should be kept flexible and minimal (Source 6 implies his independent workshop practice, but no specific underdrawing technique is cited).

underpainting

A grisaille (monochrome underpainting) is recommended, consistent with the old master technique described in Source 2. This involves painting the composition in shades of gray (using black, white, and possibly ultramarine) to establish values and forms. This layer should be allowed to dry completely before glazing. Sir Joshua Reynolds, cited in Source 2, used a similar method with black, ultramarine, and white, which aligns with the Venetian and Mannerist traditions El Greco would have known.

color palette

White

White lead or titanium white

Highlights and mixing; part of the core palette mentioned by Reynolds (Source 2)

Black

Ivory black or lamp black

Shadows and grisaille underpainting; part of the core palette (Source 2)

Ultramarine

Natural or synthetic ultramarine

Cool shadows and grisaille; part of the core palette (Source 2)

Red Ochre

Natural red ochre

Glazing and scumbling red tones; consistent with old master practices (Source 2, Source 7)

Yellow Ochre

Natural yellow ochre

Glazing and scumbling yellow tones; consistent with old master practices (Source 2, Source 7)

Vermilion/Cinnabar

Cinnabar or vermilion

Vibrant reds in papal vestments; listed as a historical pigment (Source 7)

Lapis Lazuli/Ultramarine

Ultramarine

Deep blues in drapery; connects to Titian’s chromatic framework (Source 3)

composition

El Greco’s compositions often feature elongated figures and dramatic, twisted gestures, elements of Mannerism he developed in Rome (Source 3). The portrait likely emphasizes the spiritual intensity of the Pope, consistent with El Greco’s tendency to create 'unusual interpretations of traditional religious subject matter' (Source 3). The use of atmospheric light and vibrant color, learned from Venetian painters, would inform the background and lighting (Source 3). Specific details of the Pope’s attire or expression are not described in the sources, so the composition should focus on the general Mannerist elongation and dramatic lighting.

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Lightly sketch the composition on the gessoed canvas, focusing on the elongated proportions and dramatic gestures characteristic of El Greco’s Mannerist style.
Tip — Keep lines light and flexible; El Greco’s style involves 'strange attitudes' and 'twisting' figures (Source 3).
Underdrawing

underpainting

step 02
Apply a grisaille underpainting using black, white, and ultramarine to establish values and forms. This monochrome layer should capture the light and shadow structure.
Tip — Ensure the grisaille is completely dry before proceeding. This method is supported by Reynolds’ account of old master practices (Source 2).
Grisaille

first pass

step 03
Begin glazing and scumbling transparent and semi-opaque layers of color over the dry grisaille. Start with red and yellow tones, as described in the coloring process.
Tip — Glazing involves transparent coats of color; scumbling is semi-opaque painting that allows the underlayer to show through (Source 2).
Glazing and Scumbling

refining

step 04
Build up the chromatic framework, paying attention to the 'simultaneous contrast of colours' to ensure harmonious and vibrant hues. Adjust tones based on how adjacent colors affect each other.
Tip — Be aware that the eye may perceive colors inaccurately due to mixed contrast; take breaks to reset visual perception (Source 1).
Color Contrast

finishing

step 05
Refine details, particularly in the face and hands, using thin glazes to achieve the 'fantastic or phantasmagorical pigmentation' noted in El Greco’s style.
Tip — El Greco’s style is 'expressionistic' and 'dramatic'; avoid overly realistic rendering in favor of emotional intensity (Source 4).
Glazing

varnishing

step 06
Apply a final varnish to protect the painting and enhance the depth of the glazes. Use a resin-based varnish if following historical practices.
Tip — Ensure the painting is completely dry before varnishing. Varnish can be made by boiling oil with resin (Source 5).
Varnishing

critical techniques

Glazing and Scumbling

Used to build up color and luminosity over a monochrome underpainting. This method was common among old masters and allows for rich, deep colors (Source 2).

Simultaneous Contrast

Understanding how adjacent colors affect each other’s perception is crucial for achieving El Greco’s vibrant and harmonious palette. The painter must account for the eye’s tendency to see complementary colors (Source 1).

Mannerist Elongation

Figures are elongated and posed with twisted gestures, a hallmark of El Greco’s style developed in Rome (Source 3).

common pitfalls

→Ignoring the drying time of the grisaille underpainting, which can lead to muddied colors when glazing (Source 2).
→Failing to account for simultaneous contrast, resulting in colors that appear dull or inaccurate (Source 1).
→Overworking the paint, losing the luminosity achieved through glazing. El Greco’s style relies on layered transparency, not thick impasto (Source 2, Source 5).
→Misinterpreting the 'expressionistic' style as mere distortion; the elongation and color choices serve a spiritual and emotional purpose (Source 4).

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·Specific details of the Pope’s attire, facial expression, and background elements are not described in the sources, requiring reliance on general Mannerist conventions or external references.
·El Greco’s exact pigment recipes and specific oil mediums are not detailed, though general old master practices are inferred.
·The specific underdrawing technique (e.g., charcoal vs. oil sketch) is not explicitly documented in the provided sources.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

Laws of Contrast of Colour↗
- 315-318 — applied to Understanding color interaction and avoiding visual fatigue during glazing
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Grisaille underpainting and glazing/scumbling techniques
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Historical pigment availability and use

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia bio — El Greco — part 3↗
- Style and Techniques — applied to Mannerist elements, Venetian influence, and compositional habits
Wikipedia bio — El Greco — part 4↗
- Artistic Influences — applied to Context of El Greco’s independent style and rivalry with masters
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to Materials and general oil painting properties