apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·St. Bartholomew
St. Bartholomew by Konrad Witz

plate no. 1088

St. Bartholomew

Konrad Witz, 1434

wood, temperaNorthern Renaissancereligious paintingfigurereligiousrobebookboxcolumn
some experience helpful

This painting provides an opportunity to practice rendering realistic drapery and subtle color variations in skin tones. Students can also learn about creating depth through careful value control.

technical profile

palette complexity
3
brushwork visibility
2
value contrast
3
compositional simplicity
4

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Create a preliminary sketch outlining the figure's pose and major shapes.

  2. step 02

    Block in the background with a thin wash of neutral colors.

  3. step 03

    Establish the basic values of the robe, paying attention to the folds and shadows.

  4. step 04

    Begin layering colors to create the subtle variations in the robe's fabric.

  5. step 05

    Paint the face, focusing on accurate proportions and subtle shading.

  6. step 06

    Add details to the book, box, and the robe's embellishments.

  7. step 07

    Refine the edges and add final highlights.

  8. step 08

    Glaze to unify the colors and add depth.

color palette

primary · ivory black · raw umber · titanium white · cadmium red

secondary · yellow ochre · ultramarine blue · gold

Mix various shades of white with raw umber and ivory black to achieve the off-white color of the robe. Use cadmium red mixed with raw umber for the box. Mix ultramarine blue with white for the undergarment.

techniques

  • ·drapery rendering
  • ·glazing
  • ·underpainting
  • ·value studies
  • ·portraiture

common pitfalls

  • →Oversimplifying the folds of the robe, resulting in a flat appearance.
  • →Using too much pure white, making the robe look stark.
  • →Ignoring the subtle color variations in the skin tones.
  • →Rushing the initial sketch, leading to inaccurate proportions.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·cadmium red oil paint
  • ·yellow ochre oil paint
  • ·ultramarine blue oil paint
  • ·assorted round and flat brushes

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·retouch varnish

Use high-quality oil paints for best results. A medium-sized canvas (e.g., 16x20 inches) is recommended.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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