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home·artworks·St.Francis in ecstasy
St.Francis in ecstasy by Bernardo Strozzi

plate no. 4594

St.Francis in ecstasy

Bernardo Strozzi, 1637

oilBaroquereligious paintingfigurecrucifixbookskullreligiousrobes
some experience helpful

Recreating this painting will help students develop skills in rendering realistic skin tones and drapery, as well as understanding dramatic lighting and composition. It also provides practice in depicting complex textures and forms.

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

    Sketch the basic composition, focusing on the placement of the figure, crucifix, book, and skull.

  2. step 02

    Establish the background with a dark, muted tone, leaving a lighter area behind the figure's head.

  3. step 03

    Block in the main shapes of the figure, crucifix, book, and skull with mid-tone values.

  4. step 04

    Begin layering in highlights and shadows on the figure, paying attention to the light source and form.

  5. step 05

    Develop the details of the crucifix, book, and skull, adding texture and subtle color variations.

  6. step 06

    Refine the drapery of the robe, using highlights and shadows to create a sense of volume and movement.

  7. step 07

    Add the final details, such as the rosary beads and the inscription on the crucifix.

  8. step 08

    Glaze the painting to unify the colors and create a sense of depth.

color palette

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

secondary · cadmium yellow · alizarin crimson · ultramarine blue

Achieve the skin tones by mixing burnt umber, raw sienna, and titanium white, with small amounts of alizarin crimson and cadmium yellow for warmth. Use ivory black and ultramarine blue to create the dark background and shadows.

techniques

  • ·chiaroscuro
  • ·glazing
  • ·scumbling
  • ·underpainting
  • ·portraiture

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated.
  • →Ignoring the subtle color variations in the skin tones and drapery.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·linseed oil
  • ·turpentine
  • ·palette
  • ·assorted brushes (round and flat)
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·mahl stick

Use high-quality oil paints for best results. Consider using a toned canvas to speed up the underpainting process.

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related guides

oil painting for beginners →chiaroscuro →how to learn by studying the masters →
chat about this artwork

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