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home·artworks·St. Jerome praying before a rocky grotto
St. Jerome praying before a rocky grotto by Jan van Hemessen

plate no. 0244

St. Jerome praying before a rocky grotto

Jan van Hemessen, 1548

oil, panelNorthern Renaissancereligious paintingfigureskullcrucifixbookcavereligious
experienced study

Recreating this painting will help students develop skills in portraiture, rendering realistic skin tones, and creating depth through atmospheric perspective. Students will also learn to mix subtle color variations and use chiaroscuro to create dramatic lighting.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Create a preliminary sketch outlining the main shapes and composition.

  2. step 02

    Establish the dark background tones using thin washes of umber and black.

  3. step 03

    Block in the main areas of color for the figure, skull, and book.

  4. step 04

    Begin building up the form of the figure, focusing on accurate proportions and anatomical details.

  5. step 05

    Develop the light and shadow areas on the figure, paying attention to the subtle gradations in skin tone.

  6. step 06

    Add details to the skull and book, using fine brushstrokes to create texture and form.

  7. step 07

    Refine the background, adding details to the cave and crucifix.

  8. step 08

    Add final highlights and shadows to create a sense of depth and realism.

color palette

primary · red ochre · burnt umber · ivory black · titanium white

secondary · yellow ochre · raw sienna · ultramarine blue

Achieve skin tones by mixing white, red ochre, and a touch of burnt umber. Use ultramarine blue to cool down the reds and create shadows. The dark background is achieved by layering thin washes of burnt umber and black.

techniques

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

common pitfalls

  • →Getting the proportions of the figure wrong.
  • →Overworking the details too early in the process.
  • →Not creating enough contrast between light and shadow.
  • →Failing to capture the subtle nuances of skin tone.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints (red ochre, burnt umber, ivory black, titanium white, yellow ochre, raw sienna, ultramarine blue)
  • ·linseed oil
  • ·turpentine
  • ·palette
  • ·assorted brushes (round and flat)
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use high-quality oil paints for best results. Allow each layer to dry before applying the next.

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