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home·artworks·St. Bernhard Degli Uberti, Generalabt Der Vallombrosaner, Bischof Von Parma
St. Bernhard Degli Uberti, Generalabt Der Vallombrosaner, Bischof Von Parma by Luca di Tommé

plate no. 5201

St. Bernhard Degli Uberti, Generalabt Der Vallombrosaner, Bischof Von Parma

Luca di Tommé

temperaProto Renaissancereligious paintingfigurereligiousbookcrowngoldrobe
some experience helpful

Recreating this painting will help students develop skills in portraiture, layering, and creating the illusion of gold leaf. It also offers practice in rendering intricate patterns and textures.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Prepare a toned canvas with a warm underpainting.

  2. step 02

    Sketch the basic shapes and proportions of the figure and architectural frame.

  3. step 03

    Block in the main colors of the background, robe, and face, focusing on value relationships.

  4. step 04

    Begin layering details in the face, paying attention to subtle shifts in skin tone.

  5. step 05

    Develop the patterns and textures of the robe using small brushstrokes and layering.

  6. step 06

    Add the details of the crown and book, focusing on accurate rendering of their forms.

  7. step 07

    Glaze the gold areas to enhance their luminosity.

  8. step 08

    Add final highlights and shadows to refine the overall composition.

color palette

primary · gold ochre · raw umber · ivory black · titanium white

secondary · cadmium red · ultramarine blue · burnt sienna

Achieve the gold tones by layering gold ochre with touches of burnt sienna and raw umber. Mix skin tones with white, a touch of red, and a hint of yellow ochre.

techniques

  • ·glazing
  • ·scumbling
  • ·dry brushing
  • ·layering
  • ·portraiture

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish accurate value relationships.
  • →Creating muddy colors by overmixing.
  • →Losing the overall sense of form while focusing on details.

materials

surface · stretched canvas

required

  • ·Stretched canvas
  • ·Acrylic gesso
  • ·Oil paints (gold ochre, raw umber, ivory black, titanium white, cadmium red, ultramarine blue, burnt sienna)
  • ·Round brushes (sizes 0, 2, 4)
  • ·Flat brushes (sizes 4, 6)
  • ·Palette
  • ·Linseed oil
  • ·Odorless mineral spirits

optional

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

A smooth canvas surface is recommended for achieving the fine details in this painting. Consider using a toned ground to simplify the initial stages.

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