apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Sainte Madeleine
Sainte Madeleine by Hyacinthe Rigaud

plate no. 5114

Sainte Madeleine

Hyacinthe Rigaud

oilBaroquereligious paintingfigureportraitskulldraperyhairreligious
experienced study

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones, as well as understanding light and shadow on complex forms like drapery and hair.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Create a preliminary sketch outlining the basic composition and proportions of the figure, skull, and drapery.

  2. step 02

    Establish the background with a dark, muted tone.

  3. step 03

    Block in the main shapes of the figure, focusing on accurate proportions and placement.

  4. step 04

    Begin layering in skin tones, starting with mid-tones and gradually adding highlights and shadows.

  5. step 05

    Develop the drapery, paying attention to the folds and how light interacts with the fabric.

  6. step 06

    Paint the skull, focusing on its intricate details and the way light reflects off its surface.

  7. step 07

    Refine the hair, adding individual strands and highlights to create a sense of volume and texture.

  8. step 08

    Add final details and glazes to enhance the overall realism and depth of the painting.

color palette

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

secondary · cadmium red light · yellow ochre

Achieve skin tones by mixing white, red, yellow ochre, and a touch of umber. Create the drapery color by mixing black and white with a hint of blue or purple. Use glazes of burnt sienna and umber to add depth and warmth to the skull.

techniques

  • ·portraiture
  • ·glazing
  • ·chiaroscuro
  • ·drapery study
  • ·blending

common pitfalls

  • →Incorrect proportions of the figure
  • →Overblending skin tones, resulting in a flat appearance
  • →Ignoring the subtle variations in color and value
  • →Failing to capture the texture of the hair and drapery

materials

surface · stretched canvas

required

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

optional

  • ·palette knife
  • ·medium gloss
  • ·retouch varnish

Use high-quality oil paints for best results. Consider using a toned canvas to simplify the initial stages of painting.

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