plate no. 9523
recreation guide
The Burial of the Count of Orgaz is an exceptionally large oil painting by El Greco, widely considered a masterpiece of late Mannerism and one of the most truthful pages in Spanish art history (Source 2). The work is distinctive for its division into two sections: a heavenly realm above and a terrestrial scene below, which are brought together compositionally to give little impression of duality (Source 2). It illustrates a local legend where Saints Stephen and Augustine descend to bury the Count, a scene stipulated in the contract but 'modernized' by Greco with 16th-century funeral customs and portraits of eminent Toledan figures (Source 2). The painting serves a didactic purpose aligned with Counter-Reformation doctrines, stressing the veneration of saints and good deeds (Source 2).
estimated time
40-60 hours over 8-12 sessions
materials
6 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paint | Primary medium for the painting | Artist-grade oil paints |
| Linseed oil | Medium to mix with paint for consistency and drying time | Refined linseed oil |
| Mineral spirits or turpentine | Solvent to thin paint for underdrawing and cleaning brushes | Odorless mineral spirits |
| Canvas | Support for the painting | Heavyweight linen canvas |
| Charcoal or thinned paint | For initial sketching of the subject onto the canvas | Vine charcoal or diluted oil paint |
| Palette knives and rags | For application, scraping, and adjusting paint texture | Standard palette knives and lint-free rags |
preparation
surface prep
Prepare a heavy linen canvas suitable for an exceptionally large painting. El Greco’s mature works often involved elongated compositions, and he once requested an altarpiece be lengthened to ensure figures were not 'reduced' (Source 3). Ensure the ground is stable to support multiple layers of oil paint, adhering to the 'fat over lean' principle to prevent cracking (Source 6).
underdrawing
Sketch the subject onto the canvas using charcoal or thinned paint (Source 6). Given the complexity of the multi-figured composition and the specific iconographic demands stipulated in the contract (Source 1), a detailed underdrawing is essential to position the heavenly and terrestrial figures correctly. El Greco’s style involves 'violent perspective vanishing points' and 'strange attitudes' with repeated twisting (Source 7), which should be mapped out carefully.
underpainting
Apply initial layers of paint, ensuring each subsequent layer contains more oil than the previous one ('fat over lean') to allow proper drying and prevent peeling (Source 6). Use the medium’s capacity for translucency and body to build up the forms. El Greco’s mature style demonstrates a 'studied effort to acquire a freedom of style' that may appear careless but is deliberate (Source 3).
color palette
Vibrant atmospheric tones
Varied pigments influenced by Venetian Renaissance
General use in this artist's palette; El Greco was taught to organize multi-figured compositions in landscapes vibrant with atmospheric light (Source 7)
High contrast lights and darks
Light pigments mixed with oil for luminosity
Creating the effect where each figure seems to carry its own light within or reflect light from an unseen source (Source 3)
Realistic flesh tones
Standard flesh pigments
Portraying the notable men of Toledo realistically, as the popular reception was due to these realistic portraits (Source 1)
composition
The composition is divided into heavenly (upper) and terrestrial (lower) sections, yet unified compositionally (Source 2). The upper section features Saints Stephen and Augustine descending, while the lower section depicts the burial with contemporary Toledan figures (Source 1, Source 2). El Greco characteristically uses elongated figures and interweaves form and space to unify the painting surface (Source 3). The composition should address the spectator by the aggregate force of color or line, avoiding excessive contrast that might disrupt the sublimity (Source 4).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the complex multi-figured composition onto the canvas, ensuring the division between heavenly and terrestrial realms is clear but compositionally unified.
Tip — Pay attention to the 'violent perspective' and twisting attitudes characteristic of El Greco’s Mannerist style (Source 7).
Charcoal or thinned paint sketching
underpainting
step 02
Apply initial layers of oil paint, mixing with linseed oil or solvents to achieve desired consistency. Follow the 'fat over lean' rule.
Tip — Ensure each layer has more oil than the last to prevent cracking (Source 6).
Fat over lean layering
first pass
step 03
Block in the main forms, focusing on the realistic portrayal of the Toledan figures in the lower section and the spiritual emotion in the upper section.
Tip — El Greco dramatizes rather than describes; transfer strong spiritual emotion directly to the audience (Source 3).
Realistic portraiture and dramatic expression
refining
step 04
Refine the figures, elongating them as per El Greco’s aesthetic principles. Use light to create the illusion that figures carry their own light.
Tip — Disregard strict natural anatomy to achieve otherworldly effects (Source 3).
Elongation and internal light
finishing
step 05
Adjust the interweaving of form and space to unify the painting surface. Use palette knives or rags to scrape or adjust paint if necessary.
Tip — Oil paint remains wet longer, allowing for changes in color, texture, or form (Source 6).
Interweaving form and space
varnishing
step 06
Apply varnish to protect the painting and enhance the depth of color.
Tip — Ensure the painting is fully dry (oxidized) before varnishing (Source 6).
Traditional varnishing
critical techniques
Fat over lean
Each additional layer of paint should contain more oil than the layer below to allow proper drying and prevent cracking (Source 6).
Elongation of figures
El Greco characteristically elongates figures to serve expressive purposes and aesthetic principles, disregarding natural laws (Source 3).
Internal light
Each figure seems to carry its own light within or reflect light from an unseen source, connected to Christian Neo-Platonism (Source 3).
Interweaving form and space
A reciprocal relationship between form and space unifies the painting surface, a significant innovation in his mature works (Source 3).
common pitfalls
- →Attempting to deceive the eye with mere naturalism rather than expressing feeling through the medium’s vitality (Source 5).
- →Ignoring the 'fat over lean' rule, leading to cracking and peeling of the paint film (Source 6).
- →Overusing contrast, which may reduce the sublimity of the composition; noble pictures often use slight and subtle contrast (Source 4).
- →Failing to elongate figures sufficiently, which El Greco considered essential for the 'perfection' of the form (Source 3).
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·Specific pigment recipes used by El Greco for this painting are not detailed in the sources.
- ·Exact dimensions of the canvas are not provided, though it is described as 'exceptionally large' (Source 2).
- ·Detailed iconographic specifics of the 'modernized' elements (e.g., exact vestments of the saints) are not described in the sources, only that they were modernized (Source 2).
- ·The specific underdrawing technique (e.g., ink vs. charcoal) is not explicitly stated, only that sketching with charcoal or thinned paint is a traditional oil painting technique (Source 6).
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Elements of Drawing↗
- 231. Hence many compositions... — applied to Composition notes regarding the use of aggregate force of color or line and subtle contrast.
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Overview and pitfalls regarding the expression of feeling through the medium rather than mere deception.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: The Burial of the Count of Orgaz — part 1↗
- Theme — applied to Overview and composition notes regarding the division of heavenly and terrestrial sections and the legend.
Wikipedia: The Burial of the Count of Orgaz — part 2↗
- Details on the commission and creation process — applied to Overview regarding the realistic portraits of Toledan figures and the contract stipulations.
Wikipedia bio — El Greco — part 8↗
- Mature works style — applied to Critical techniques regarding elongation, internal light, and interweaving form and space.
Wikipedia: Oil painting — part 2↗
- Traditional oil painting techniques — applied to Materials list, surface prep, underdrawing, underpainting, and step-by-step process regarding 'fat over lean' and solvents.
Wikipedia bio — El Greco — part 3↗
- Early career and influences — applied to Underdrawing and composition notes regarding Venetian influence, atmospheric light, and Mannerist elements.
Read more about the corpus on the sources page and how the guides are built on the methods page.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
