apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Saint John of God
Saint John of God by Bartolomé Esteban Murillo

plate no. 7256

Saint John of God

Bartolomé Esteban Murillo, 1672

oilBaroquereligious paintingfiguresangelreligiousrobesdark backgroundrescue
some experience helpful

Recreating this painting will help students understand chiaroscuro and how to model forms using light and shadow. It also provides practice in painting drapery and human figures in dynamic poses.

technical profile

palette complexity
3
brushwork visibility
3
value contrast
5
compositional simplicity
4

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch of the main figures and their relative positions.

  2. step 02

    Establish the dark background with a thin layer of dark brown or black.

  3. step 03

    Block in the main areas of light on the angel's robe and the other figure's clothing.

  4. step 04

    Gradually build up the highlights and shadows, focusing on the forms of the figures.

  5. step 05

    Pay close attention to the transitions between light and shadow to create a sense of depth.

  6. step 06

    Refine the details of the faces and hands.

  7. step 07

    Add the blue sash on the angel.

  8. step 08

    Make final adjustments to the values and edges to create a cohesive composition.

color palette

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

secondary · ultramarine blue · raw sienna

Mix various shades of brown and gray by combining burnt umber, ivory black, and titanium white. Use yellow ochre and white for the angel's robe, adding small amounts of burnt umber for shadows. Mix ultramarine blue with white for the sash.

techniques

  • ·chiaroscuro
  • ·glazing
  • ·blending
  • ·figure drawing
  • ·drapery study

common pitfalls

  • →Failing to establish a strong value structure early on.
  • →Over-blending, resulting in a muddy appearance.
  • →Ignoring the subtle color variations in the shadows.
  • →Getting the proportions of the figures incorrect.

materials

surface · stretched canvas

required

  • ·Stretched canvas (18x24 inches)
  • ·Oil paints (yellow ochre, burnt umber, ivory black, titanium white, ultramarine blue, raw sienna)
  • ·Palette
  • ·Assorted brushes (round and flat)
  • ·Linseed oil
  • ·Odorless mineral spirits
  • ·Palette knife
  • ·Rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use a medium-grit canvas for better paint adhesion. Consider using a toned canvas (e.g., a light brown or gray) to establish a base value.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

Girl with a Straw Hat

Girl with a Straw Hat

Judith Leyster

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Abraham Storck

Bathsheba Bathing

Bathsheba Bathing

Francesco Solimena

Repentant Peter

Repentant Peter

Guido Reni

Itinerant Musicians

Itinerant Musicians

Jacob Ochtervelt

Marie Christine

Marie Christine

Marcello Bacciarelli

Santa Cecilia E Due Angeli

Santa Cecilia E Due Angeli

Giulio Cesare Procaccini

Scene from the Life of Saint Benedict

Scene from the Life of Saint Benedict

Philippe de Champaigne