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home·artworks·The Beheading of John the Baptis
The Beheading of John the Baptis by Filippo Lippi

plate no. 7874

The Beheading of John the Baptis

Filippo Lippi, 1465

frescoEarly Renaissancereligious paintingfiguresarchitecturereligious sceneinteriorfloor tilesfoliage
experienced study

Recreating this painting will help students develop skills in figure drawing, rendering drapery, and creating atmospheric perspective with a limited palette. It also provides practice in depicting complex scenes with multiple figures and architectural elements.

technical profile

palette complexity
4
brushwork visibility
3
value contrast
3
compositional simplicity
2

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch outlining the main figures and architectural elements, paying attention to proportions and perspective.

  2. step 02

    Establish the background with thin washes of muted colors, focusing on creating depth and atmosphere.

  3. step 03

    Block in the main color masses for each figure, using a limited palette of earth tones and muted blues.

  4. step 04

    Develop the drapery folds and shadows, using subtle gradations of color and value.

  5. step 05

    Add details to the faces and hands, paying attention to the light and shadow.

  6. step 06

    Refine the architectural details and floor tiles, using a ruler to ensure accuracy.

  7. step 07

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

  8. step 08

    Glaze with thin washes to unify the colors and create a sense of age.

color palette

primary · raw umber · burnt sienna · ivory black

secondary · Prussian blue · yellow ochre · titanium white

Achieve the muted tones by mixing earth colors with small amounts of blue and white. Use thin washes of color to build up the layers and create subtle gradations.

techniques

  • ·underpainting
  • ·glazing
  • ·chiaroscuro
  • ·atmospheric perspective
  • ·figure drawing

common pitfalls

  • →Overworking the details too early.
  • →Using colors that are too bright or saturated.
  • →Ignoring the importance of light and shadow.
  • →Failing to establish a strong composition.
  • →Inaccurate proportions of figures

materials

surface · stretched canvas

required

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

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

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

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