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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. 5369

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

Matthias Grünewald, 1515

oil, panelNorthern Renaissancereligious paintingfigurelandscapedeertreesbeardreligious
experienced study

Recreating this painting will help students develop skills in portraiture, particularly rendering realistic skin tones and textures, as well as creating depth through atmospheric perspective in the background. The detailed beard provides an opportunity to practice rendering complex forms with subtle variations in light and shadow.

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

    Begin with a light sketch outlining the main shapes and proportions of the figure, deer, and landscape.

  2. step 02

    Establish the background with thin washes of color, focusing on creating a sense of depth and atmosphere.

  3. step 03

    Block in the main areas of color on the figure, paying attention to the overall value structure.

  4. step 04

    Start building up the details of the face, focusing on capturing the subtle variations in skin tone and texture.

  5. step 05

    Carefully render the beard, using small brushstrokes to create the individual hairs and curls.

  6. step 06

    Add details to the clothing, paying attention to the folds and shadows.

  7. step 07

    Refine the details of the deer and the surrounding landscape.

  8. step 08

    Add final highlights and shadows to create a sense of realism and depth.

color palette

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

secondary · cadmium red · yellow ochre · ultramarine blue

Achieve skin tones by mixing burnt umber, raw sienna, titanium white, and small amounts of cadmium red and yellow ochre. Create atmospheric perspective in the background by adding ultramarine blue to the base colors.

techniques

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

common pitfalls

  • →Getting the proportions of the figure wrong.
  • →Overworking the details too early in the process.
  • →Failing to create a sense of depth in the background.
  • →Using colors that are too saturated.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·round brushes (sizes 0, 2, 4, 6)
  • ·palette
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·painting easel

Use high-quality oil paints for best results. Consider using a toned canvas to help establish the overall value structure.

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