plate no. 0345
The Life of St. Ignatius Loyola. Plate 4. Ignatius and his friend, Francis Xavier, at the university of Paris. What does it profit a man if he gains the whole world but suffers the loss of his soul.
recreation guide
This artwork, titled 'The Life of St. Ignatius Loyola. Plate 4,' is an oil painting by Carlos Saenz de Tejada (also known as Carmen Calvo Sáenz de Tejada). While the specific visual details of this particular plate are not described in the provided sources, the artist is a Spanish conceptual artist known for incorporating terracotta and fragments of pottery into her work, reflecting her early experience in a ceramic factory (Source 8). Her practice often involves interventions and installations, synthesizing a 'saved and saving view' on contemporary reality (Source 7). The medium is oil, which traditionally consists of pigment suspended in a drying oil such as linseed, safflower, walnut, or poppyseed oil (Source 1). The style is noted as Art Nouveau (Modern), suggesting a potential blend of historical subject matter with modernist sensibilities characteristic of her era.
estimated time
20-30 hours over 5-7 sessions
materials
7 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Linseed oil | Primary drying oil for mixing paints and mediums; general purpose oil that dries relatively fast. | — |
| Safflower or Poppyseed oil | For mixing lighter colors like white to prevent yellowing upon drying. | — |
| Spirits of turpentine | Solvent for thinning paint, especially for the first painting layer to ensure it dries 'dead' and remains slightly absorbent for subsequent layers. | Odorless mineral spirits |
| Oil paints (Tube) | Primary colorants. Palette should include whites, ochres, reds, blues, and earth tones. | — |
| Siccative (optional) | To accelerate drying time if needed, historically litharge was used but modern non-toxic alternatives exist. | Cobalt or Zirconium siccative |
| Canvas or Linen support | The surface for painting. Linen is traditional and comes from the flax plant, same as linseed oil. | Primed canvas |
| Varnish | For final glazing and protection, potentially mixed with oil for scumbling techniques. | Dammar or synthetic resin varnish |
preparation
surface prep
Prepare a linen or canvas support. While the specific preparation for this plate is not detailed, traditional oil painting practice involves priming the support to create a stable ground. Given the artist's background in ceramics and use of mixed media, ensure the surface is sealed if any non-traditional elements are incorporated, though for a standard oil recreation, a standard oil ground is appropriate.
underdrawing
The sources do not specify the underdrawing method for this specific work. However, given the artist's conceptual background and the historical nature of the subject, a loose underdrawing in charcoal or thinned oil is likely. The sources emphasize that ancient artists had limited palettes, suggesting a focus on form and tone before color (Source 3).
underpainting
A grisaille (monochrome underpainting) is recommended. This involves painting the composition in neutral tones, mentally extracting red and yellow colors to establish the light and shadow structure. This method allows for subsequent glazing and scumbling to build up color intensity and depth (Source 5).
color palette
White
Lead white (historical) or Titanium/Zinc white (modern)
Highlights and mixing lighter colors. Safflower or poppyseed oil should be used with white to prevent yellowing (Source 1).
Yellow Ochre
Natural earth pigment
General use, flesh tones, and earthy backgrounds. One of the four ancient colors (Source 3).
Red Ochre/Vermilion
Red ochre or Cinnabar (historical)
Flesh tones, draperies, and accents. Used in glazing to add warmth (Source 5).
Ultramarine/Blue
Ultramarine or Cobalt
Shadows, skies, and complementary contrasts. Used in the initial monochrome stage (Source 5).
Ivory Black
Charcoal-based black
Shadows and defining forms. One of the ancient four colors (Source 3).
Raw and Burnt Umber
Earth pigments
Shadows and depth. Essential for the grisaille and glazing stages (Source 2).
composition
The specific composition of this plate is not described in the sources. However, the artist's work often involves interventions and installations, suggesting a dynamic approach to space. The title references a university setting, which may imply architectural elements. The artist's practice includes using mirrors and photographic images, which might influence the spatial representation, though this is speculative for this specific oil painting (Source 7).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the composition lightly on the primed surface. Focus on the placement of figures (Ignatius and Francis Xavier) and architectural elements of the university.
Tip — Keep lines loose to allow for adjustments during the painting process.
Underdrawing
underpainting
step 02
Create a grisaille using black, ultramarine, and white. Establish the light and shadow structure without using red or yellow tones.
Tip — Ensure the grisaille is completely dry before proceeding to color glazing (Source 5).
Grisaille
first pass
step 03
Apply the first layer of color using turpentine alone as a medium. This ensures the paint dries 'dead' and remains slightly absorbent for subsequent layers.
Tip — Avoid using too much oil in the first layer to prevent a soapy surface (Source 2).
Direct painting (prima)
refining
step 04
Glaze and scumble over the dry underpainting. Use transparent coats of color (glazing) and semi-opaque layers (scumbling) to build up flesh tones and drapery colors.
Tip — Glazing adds depth and luminosity, while scumbling can create coldness or grey blooms over darker grounds (Source 5).
Glazing and Scumbling
finishing
step 05
Refine details and adjust color contrasts. Use complementary colors to enhance brilliance; for example, surround red tones with green to make them appear redder.
Tip — Be aware that juxtaposing colors can alter their perceived hue and intensity (Source 4).
Simultaneous Contrast
varnishing
step 06
Apply a final varnish to protect the painting and unify the surface. This can be done with oil and varnish mixed for additional control.
Tip — Ensure the painting is completely dry before varnishing to avoid trapping solvents.
Varnishing
critical techniques
Glazing
Applying transparent coats of color over a dry underpainting to build depth and luminosity. This was a common practice among old masters and is recommended for achieving rich color effects (Source 5).
Scumbling
Applying semi-opaque paint over a darker ground to create coldness or grey blooms. This technique allows for subtle tonal variations and texture (Source 5).
Simultaneous Contrast
Using complementary colors in juxtaposition to enhance the brilliance of each. For example, placing red next to green makes the red appear more intense (Source 4).
Direct Painting (Prima)
Painting flesh tones directly from life or imagination using a limited palette and turpentine for the first layer to ensure proper drying and adhesion (Source 2).
common pitfalls
- →Using too much oil in the first layer, which can darken the color and create a soapy surface that is difficult to paint over (Source 2).
- →Ignoring the drying time of the underpainting, which can lead to cracking or poor adhesion of subsequent glazes (Source 5).
- →Failing to consider simultaneous contrast, which can result in colors appearing duller or less vibrant than intended (Source 4).
- →Using linseed oil with white pigments, which can cause yellowing over time; safflower or poppyseed oil is preferred for whites (Source 1).
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 visual details of the painting (e.g., exact poses, clothing patterns, background elements) are not described in the sources.
- ·The artist's specific palette for this particular work is not documented; the palette suggested is based on general oil painting practices and the artist's broader context.
- ·The exact year of creation is not available, making it difficult to pinpoint specific period conventions beyond the general 'Art Nouveau (Modern)' label.
- ·The artist's use of mixed media (terracotta, mirrors) is not applicable to a standard oil painting recreation, but may influence the conceptual approach.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- CHAPTER XV PAINTING IN COLOUR DIRECT FROM LIFE — applied to Direct painting technique and palette setup
- COLOURING A MONOCHROME — applied to Glazing and scumbling techniques
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Historical palette and color theory
- 4. When two colours separated by more than two others — applied to Simultaneous contrast and color enhancement
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- part 4 — applied to Materials and drying oils
Wikipedia bio — Carlos Saenz de Tejada↗
- part 1 and part 2 — applied to Artist biography and general practice
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
in this vein
