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home·artworks·The Flagellation
The Flagellation by Luca Signorelli

plate no. 3155

The Flagellation

Luca Signorelli, 1480

oil, woodEarly Renaissancereligious paintingfiguresarchitecturecolumnreligious scenehistoricalinterior
experienced study

Recreating this painting will help students develop skills in figure drawing, anatomical accuracy, and creating depth through atmospheric perspective. 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. 30 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch of the overall composition, focusing on the placement of figures and architectural elements.

  2. step 02

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

  3. step 03

    Block in the background architecture with diluted washes of color.

  4. step 04

    Start painting the figures, beginning with the central figure and working outwards.

  5. step 05

    Pay close attention to anatomical accuracy and proportions.

  6. step 06

    Gradually build up layers of color and detail, using glazing techniques to create depth and luminosity.

  7. step 07

    Add details to the clothing and accessories.

  8. step 08

    Refine the highlights and shadows to create a sense of volume and form.

color palette

primary · raw umber · yellow ochre · titanium white

secondary · burnt sienna · ultramarine blue · cadmium red

Achieve skin tones by mixing yellow ochre, raw umber, and titanium white, with small amounts of burnt sienna or cadmium red for warmth. Use ultramarine blue to create cooler shadows and atmospheric perspective in the background.

techniques

  • ·figure drawing
  • ·glazing
  • ·atmospheric perspective
  • ·chiaroscuro
  • ·anatomical study

common pitfalls

  • →Incorrect proportions of figures
  • →Overworking details too early
  • →Ignoring the light source
  • →Uneven skin tones
  • →Lack of atmospheric perspective

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·burnt sienna oil paint
  • ·ultramarine blue oil paint
  • ·#2 round brush
  • ·#6 flat brush

optional

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

Use high-quality oil paints for best results. Consider using a toned canvas to establish a base color.

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