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home·artworks·The Evangelists St. Mark and St. Luke
The Evangelists St. Mark and St. Luke by Matthias Stom

plate no. 0120

The Evangelists St. Mark and St. Luke

Matthias Stom, 1635

oil, canvasTenebrismreligious paintingfigureslionoxbookdraperyreligious
experienced study

Recreating this painting will help students develop skills in chiaroscuro and rendering realistic figures and drapery. It also provides practice in creating a dramatic and engaging composition.

technical profile

palette complexity
4
brushwork visibility
3
value contrast
5
compositional simplicity
3

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Create a preliminary sketch to establish the composition and proportions.

  2. step 02

    Block in the main shapes and areas of light and shadow using thin washes of color.

  3. step 03

    Develop the dark areas first, gradually building up the shadows and mid-tones.

  4. step 04

    Begin working on the figures, focusing on accurate anatomy and realistic skin tones.

  5. step 05

    Pay close attention to the drapery, using highlights and shadows to create a sense of volume and texture.

  6. step 06

    Add details to the lion and ox, capturing their unique features and textures.

  7. step 07

    Refine the overall composition, adjusting values and colors as needed.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

primary · burnt umber · raw sienna · titanium white

secondary · ultramarine blue · cadmium red · ivory black

Achieve the skin tones by mixing burnt umber, raw sienna, and titanium white, with small amounts of cadmium red for warmth. Use ultramarine blue and titanium white for the blue garment, and mix various shades of brown for the animals and drapery.

techniques

  • ·chiaroscuro
  • ·glazing
  • ·scumbling
  • ·underpainting
  • ·figure drawing

common pitfalls

  • →Failing to establish a strong value structure early on.
  • →Overworking the details before establishing the overall form.
  • →Inaccurate proportions and anatomy.
  • →Not creating enough contrast between light and shadow.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·cadmium red oil paint
  • ·ivory black oil paint
  • ·assorted brushes (round and flat)

optional

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

Use high-quality oil paints for best results. Consider using a toned canvas to help establish the value structure.

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