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home·artworks·St. Hugh of Cluny in the Refectory of the Carthusians
St. Hugh of Cluny in the Refectory of the Carthusians by Francisco de Zurbaran

plate no. 9201

St. Hugh of Cluny in the Refectory of the Carthusians

Francisco de Zurbaran, 1633

oil, canvasBaroquereligious paintingfigurestablebreadmonksreligious sceneinterior
some experience helpful

Recreating this painting will help students develop skills in portraiture, depicting drapery, and understanding atmospheric perspective. It also provides practice in rendering textures and creating a sense of depth through value and color variations.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch outlining the main figures and the table.

  2. step 02

    Establish the background wall and the painting within the painting using thin washes of color.

  3. step 03

    Block in the basic shapes and colors of the monks' robes and the figures' skin tones.

  4. step 04

    Develop the drapery folds and shadows on the robes, paying attention to the light source.

  5. step 05

    Refine the facial features and expressions of the figures.

  6. step 06

    Add details to the table setting, including the bread, bowls, and pitcher.

  7. step 07

    Create the shadows and highlights on the floor and the front of the table.

  8. step 08

    Add final details and adjust values to create a cohesive composition.

color palette

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

secondary · burnt sienna · ultramarine blue · cadmium red light

Mix various shades of white with raw umber and yellow ochre to create the off-white tones of the monks' robes. Use burnt sienna and ultramarine blue to create the darker tones in the shadows. Add small amounts of cadmium red to create realistic skin tones.

techniques

  • ·underpainting
  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·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 shadows and highlights.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·palette
  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.

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related guides

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