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home·artworks·St. Francis of Assisi at Prayer
St. Francis of Assisi at Prayer by Bartolomé Esteban Murillo

plate no. 3473

St. Francis of Assisi at Prayer

Bartolomé Esteban Murillo, 1650

oil, canvasBaroquereligious paintingfiguremonkskullcloudslightlandscape
some experience helpful

Recreating this painting will help students develop skills in chiaroscuro, portraiture, and rendering textures with a limited palette. It also provides practice in creating a focal point through dramatic lighting.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the figure's pose and the placement of the skull.

  2. step 02

    Establish the overall value structure with thin washes of burnt umber and raw sienna.

  3. step 03

    Block in the main shapes of the figure's robe, paying attention to the folds and drapery.

  4. step 04

    Begin to build up the light areas on the figure, mixing white with small amounts of yellow ochre and burnt sienna.

  5. step 05

    Refine the facial features, focusing on the expression and the direction of the gaze.

  6. step 06

    Add details to the skull and the surrounding landscape, using small brushes and subtle color variations.

  7. step 07

    Glaze shadows with thin layers of burnt umber to deepen the values and create a sense of depth.

  8. step 08

    Add final highlights to the figure and the skull to enhance the dramatic lighting.

color palette

primary · burnt umber · raw sienna · titanium white

secondary · yellow ochre · ivory black

Achieve the robe's color by mixing burnt umber with small amounts of raw sienna and white. Use ivory black to darken shadows and create subtle variations in tone.

techniques

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

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using too much color and losing the tonal harmony.
  • →Ignoring the importance of soft edges and subtle transitions.

materials

surface · stretched canvas

required

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

optional

  • ·palette knife
  • ·retouch varnish
  • ·painting medium

Use a medium-grain canvas for best results. Consider using a toned canvas to speed up the painting process.

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related guides

oil painting for beginners →chiaroscuro →how to learn by studying the masters →
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