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home·artworks·Saint Catherine of Siena receiving the stigmata between Saints Benedict and Jerome (detail)
Saint Catherine of Siena receiving the stigmata between Saints Benedict and Jerome (detail) by Domenico Beccafumi

plate no. 3474

Saint Catherine of Siena receiving the stigmata between Saints Benedict and Jerome (detail)

Domenico Beccafumi, 1517

woodHigh Renaissancereligious paintingfigurelandscapearchitecturereligioussaintforeground
some experience helpful

Recreating this painting will help students develop skills in rendering figures in shadow and creating atmospheric perspective in landscapes. It also provides practice in replicating complex patterns and textures.

technical profile

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

study guide

est. 20 hrs

approach — 7 steps

  1. step 01

    Begin with a light sketch outlining the main figures and landscape elements.

  2. step 02

    Establish the background landscape using thin washes of color, focusing on atmospheric perspective.

  3. step 03

    Block in the main shapes of the figures, paying attention to the areas of deep shadow.

  4. step 04

    Develop the details of the face and hands, using subtle gradations of color.

  5. step 05

    Add the details of the clothing and other elements, such as the book and the flower.

  6. step 06

    Refine the foreground details, including the patterned floor.

  7. step 07

    Adjust the values and colors throughout the painting to create a sense of depth and realism.

color palette

primary · ivory black · raw umber · titanium white · yellow ochre

secondary · burnt sienna · ultramarine blue · cadmium red light

Achieve the muted tones by mixing black and white with small amounts of earth tones. Create atmospheric perspective by adding blue to the background colors.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·atmospheric perspective
  • ·rendering drapery

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too bright or saturated.
  • →Ignoring the principles of atmospheric perspective.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·#2 round brush
  • ·#6 filbert brush
  • ·linseed oil

optional

  • ·palette knife
  • ·retouch varnish
  • ·medium

Use high-quality oil paints for best results. Consider using a toned canvas to create a more unified color palette.

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