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home·artworks·Saint Ignace De Loyola Et Saint François Xavier
Saint Ignace De Loyola Et Saint François Xavier by Giovanni Battista Gaulli

plate no. 5516

Saint Ignace De Loyola Et Saint François Xavier

Giovanni Battista Gaulli, 1685

oilBaroquereligious paintingfiguresreligious sceneinteriorrobescrucifixhalo
experienced study

Recreating this painting will help students develop skills in rendering figures in dramatic lighting and creating a sense of depth through atmospheric perspective. It also provides practice in depicting drapery and subtle skin tones.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Prepare the canvas with a toned ground (burnt umber or similar).

  2. step 02

    Sketch the basic composition, focusing on the placement and proportions of the figures.

  3. step 03

    Block in the main areas of color, starting with the darkest values in the robes and background.

  4. step 04

    Establish the light source and begin to build up the highlights on the figures and crucifix.

  5. step 05

    Refine the details of the faces, paying close attention to the expressions and anatomy.

  6. step 06

    Develop the drapery folds and textures, using a combination of blending and scumbling.

  7. step 07

    Add the subtle glow around the figures' heads, using thin layers of white and yellow.

  8. step 08

    Glaze the painting to unify the colors and add depth.

color palette

primary · ivory black · raw umber · titanium white · burnt sienna

secondary · yellow ochre · ultramarine blue · cadmium red light

Achieve the dark robe colors by mixing ivory black with raw umber and a touch of ultramarine. Skin tones can be created by mixing titanium white, yellow ochre, and cadmium red light, with small amounts of burnt sienna for shadows.

techniques

  • ·chiaroscuro
  • ·glazing
  • ·scumbling
  • ·atmospheric perspective
  • ·figure drawing

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Making the skin tones too flat or lifeless.
  • →Losing the sense of depth in the background.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·burnt sienna oil paint
  • ·yellow ochre oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil

optional

  • ·palette knife
  • ·dammar varnish
  • ·medium

Use high-quality oil paints for best results. A medium such as linseed oil can be used to thin the paints and improve flow.

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related guides

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