apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·St. Anthony Visiting St. Paul the Hermit in the Desert (detail)
St. Anthony Visiting St. Paul the Hermit in the Desert (detail) by Matthias Grünewald

plate no. 4707

St. Anthony Visiting St. Paul the Hermit in the Desert (detail)

Matthias Grünewald, 1516

oil, panelNorthern Renaissancereligious paintingfigurelandscapereligioushermitdesertfoliage
experienced study

Recreating this painting will help students develop skills in portraiture, anatomical rendering, and creating depth through atmospheric perspective. It also provides practice in rendering complex textures like skin and woven materials.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Create a preliminary sketch to establish the composition and proportions of the figure and landscape.

  2. step 02

    Block in the main shapes and values using thin washes of color.

  3. step 03

    Begin building up the skin tones, paying close attention to the subtle variations in color and value.

  4. step 04

    Render the details of the face, including the eyes, nose, and mouth.

  5. step 05

    Paint the woven garment, focusing on the interplay of light and shadow to create a sense of depth and texture.

  6. step 06

    Develop the background landscape, using atmospheric perspective to create distance.

  7. step 07

    Add details to the foliage and ground, paying attention to the textures and colors.

  8. step 08

    Refine the overall painting, adjusting values and adding highlights to create a sense of realism.

color palette

primary · raw umber · burnt sienna · titanium white

secondary · yellow ochre · ivory black · cadmium red light

Achieve skin tones by mixing raw umber, burnt sienna, and titanium white, adjusting the proportions to create variations in color and value. Use yellow ochre and cadmium red light to add warmth to the skin tones. Mix ivory black with raw umber to create dark shadows.

techniques

  • ·glazing
  • ·scumbling
  • ·dry brushing
  • ·chiaroscuro
  • ·atmospheric perspective

common pitfalls

  • →Incorrect proportions of the figure.
  • →Overblending the skin tones, resulting in a flat appearance.
  • →Failing to create a sense of depth in the landscape.
  • →Neglecting the subtle variations in color and value.
  • →Getting the woven texture wrong.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·ivory black oil paint
  • ·cadmium red light oil paint
  • ·assorted brushes (round and flat)

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use high-quality oil paints for best results. Consider using a toned canvas to create a warmer base for the 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 →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Aristotle

Aristotle

Justus van Gent

The Man of Sorrows with the Virgin Mary and St. John the Evangelist

The Man of Sorrows with the Virgin Mary and St. John the Evangelist

Martin Schongauer

The pride of the beggar sitting on the train of haughtiness

The pride of the beggar sitting on the train of haughtiness

Albrecht Altdorfer

Adoration of the Magi

Adoration of the Magi

Quentin Matsys

Christ on the Cross

Christ on the Cross

Albrecht Altdorfer

Frühling - Das Bereiten Der Blumenbeete

Frühling - Das Bereiten Der Blumenbeete

Pieter Brueghel the Younger

Group of Men

Group of Men

Rogier van der Weyden

Madonna and Child Holding a Pear

Madonna and Child Holding a Pear

Bernard Van Orley