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home·artworks·St. Jerome in the Desert
St. Jerome in the Desert by Cima da Conegliano

plate no. 9434

St. Jerome in the Desert

Cima da Conegliano

oil, panelHigh Renaissancereligious paintingfigurelandscapeskullrocksbookdesert
some experience helpful

Recreating this painting will help students develop skills in rendering form with light and shadow, as well as creating atmospheric perspective in a landscape. It also provides practice in depicting the human figure and drapery.

technical profile

palette complexity
3
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 St. Jerome, the landscape elements, and the skull.

  2. step 02

    Establish the main light source and map out the areas of light and shadow.

  3. step 03

    Begin blocking in the background landscape with thin washes of color, creating atmospheric perspective by muting colors in the distance.

  4. step 04

    Paint the rocky foreground and the figure of St. Jerome, paying attention to the anatomical details and the folds of the drapery.

  5. step 05

    Develop the details of the skull, the book, and other objects in the scene.

  6. step 06

    Refine the values and colors throughout the painting, creating a sense of depth and realism.

  7. step 07

    Add final highlights and shadows to enhance the form and create visual interest.

  8. step 08

    Glaze with thin layers of color to unify the painting and create a sense of atmosphere.

color palette

primary · burnt umber · yellow ochre · titanium white · Prussian blue

secondary · raw sienna · cadmium yellow · ivory black

Mix various shades of brown and yellow ochre with white to create the skin tones. Use Prussian blue mixed with burnt umber and white for the drapery. Create atmospheric perspective by adding white to the background colors.

techniques

  • ·underpainting
  • ·glazing
  • ·chiaroscuro
  • ·atmospheric perspective
  • ·dry brushing

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated, which can flatten the image.
  • →Ignoring the principles of atmospheric perspective.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·Prussian blue oil paint
  • ·#4 round brush
  • ·#6 flat brush
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·turpentine

Use high-quality oil paints for best results. Prepare the canvas with gesso before painting.

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