plate no. 7649
The Last Communion of St Peter Nolasco
Francisco Pacheco, 1611
experienced study
Recreating this painting will help students understand how to create depth using atmospheric perspective and how to render drapery folds with light and shadow. It also provides practice in depicting complex figure arrangements.
technical profile
palette complexity
3
brushwork visibility
4
value contrast
3
compositional simplicity
2
study guide
est. 25 hrsapproach — 8 steps
- step 01
Lightly sketch the overall composition, focusing on the placement of the main figures and architectural elements.
- step 02
Establish the basic value structure with a thin wash of burnt umber or a similar earth tone.
- step 03
Begin layering in the local colors of the figures' robes, using a limited palette of earth tones and whites.
- step 04
Develop the drapery folds by adding shadows and highlights to the robes, paying attention to the direction of light.
- step 05
Paint the faces and hands of the figures, focusing on capturing their expressions and gestures.
- step 06
Add details such as the birds, the architectural elements, and the background figures.
- step 07
Glaze over the painting with thin layers of color to unify the composition and create a sense of atmosphere.
- step 08
Add final highlights and details to bring the painting to life.
color palette
primary · raw umber · burnt sienna · titanium white
secondary · yellow ochre · ivory black · red ochre
Achieve the muted tones by mixing earth pigments with white and small amounts of black. Use glazes of thinned color to create depth and atmosphere.
techniques
- ·glazing
- ·scumbling
- ·atmospheric perspective
- ·chiaroscuro
- ·drapery rendering
common pitfalls
- →getting lost in details too early
- →overworking the painting
- →inconsistent lighting
- →incorrect proportions of figures
materials
surface · stretched canvas
required
- ·stretched canvas
- ·raw umber oil paint
- ·burnt sienna oil paint
- ·titanium white oil paint
- ·round brushes (sizes 2, 4, 6)
- ·linseed oil
- ·palette
optional
- ·palette knife
- ·medium (e.g., Liquin)
- ·varnish
Use a medium-tooth canvas to allow for layering and blending. Consider toning the canvas with a thin wash of burnt umber before starting.
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