plate no. 0048

The Life of St. Ignatius Loyola. Plate 5. Ignatius and the first companions take vows at Montmatre 15th August 1534.

oilArt Nouveau (Modern)history paintingfiguresinteriorchurchreligiouslightarchitecture

recreation guide

This artwork, 'The Life of St. Ignatius Loyola. Plate 5,' by Carlos Saenz de Tejada, is a history painting depicting a specific narrative moment: the taking of vows at Montmartre on August 15, 1534. As a history painting, it falls within a genre defined by its subject matter—a moment in a religious narrative—rather than a static portrait or landscape (Source 2). The work is executed in oil, likely adhering to the traditions of large-scale narrative painting which often involved complex groupings of figures to convey the story's drama and significance (Source 2). While the specific visual details of Saenz de Tejada’s composition are not described in the provided sources, the genre implies a focus on narrative clarity and the depiction of multiple figures in a coherent spatial arrangement.

estimated time

40-60 hours over 8-12 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (various pigments)	Primary medium for the painting	Standard artist-grade oil paints
Linseed oil	Medium for mixing paints and glazing	Refined linseed oil
Spirits of turpentine	Thinner for initial layers and cleaning	Odorless mineral spirits or pure gum turpentine
Canvas or Panel	Support for the painting	Primed linen canvas or wood panel
Grisaille mixture (black, white, ultramarine)	For creating the monochrome underpainting	Mix of ivory black, titanium white, and ultramarine blue
Varnish	For final glazing and protection	Dammar or synthetic resin varnish

preparation

surface prep

The surface should be prepared with a ground suitable for oil painting. While specific preparation methods for Saenz de Tejada are not detailed, traditional oil painting practices often involve a gesso or oil ground to ensure proper adhesion and tooth for the paint layers. The sources suggest a method involving a monochrome underpainting, implying a smooth, absorbent surface is beneficial for the initial grisaille stage (Source 3).

underdrawing

The sources do not specify Saenz de Tejada’s underdrawing technique. However, history paintings typically require careful compositional planning. A light underdrawing in charcoal or thinned paint would be used to map out the figures and narrative elements, ensuring the correct placement of the companions and St. Ignatius.

underpainting

A grisaille (monochrome) underpainting is recommended, consistent with traditional oil painting methods described in the sources. This involves painting the composition in shades of gray (using black, white, and potentially ultramarine) to establish values and forms before applying color (Source 3). This technique allows the artist to focus on light and shadow without the complexity of color.

color palette

White

White lead or titanium white

Highlights and mixing

Yellow Ochre

Natural earth pigment

Flesh tones and earthy backgrounds

Vermilion

Red lead or cinnabar

Vibrant reds in clothing or accents

Ultramarine

Lapis lazuli or synthetic ultramarine

Deep blues and shadows in grisaille

Raw Umber

Natural earth pigment

Shadows and dark tones

Rose Madder

Organic lake pigment

Flesh tones and subtle reds

composition

As a history painting, the composition likely features a group of figures arranged to convey the narrative of the vows. While specific compositional details are not provided, history paintings often use diagonal lines or circular structures to guide the viewer’s eye and create dynamism, similar to techniques used by masters like Titian (Source 1). The arrangement should emphasize the central action of the vow-taking, with figures positioned to enhance the dramatic impact.

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the composition lightly on the prepared surface, focusing on the placement of St. Ignatius and his companions.
Tip — Ensure the narrative focus is clear and the figures are proportionally correct.
Underdrawing

underpainting

step 02
Apply a grisaille underpainting using black, white, and ultramarine to establish values and forms.
Tip — Work from dark to light, ensuring the monochrome layer is fully dry before proceeding.
Grisaille

first pass

step 03
Begin applying color using glazing and scumbling techniques. Start with transparent glazes of red and yellow tones over the dry grisaille.
Tip — Use oil as a medium initially, allowing each layer to dry completely before adding the next.
Glazing

refining

step 04
Refine flesh tones using direct painting methods, substituting toned color for uncolored tone as described in life painting techniques.
Tip — Use turpentine for the first painting to avoid darkening the color and creating a soapy surface.
Direct Painting (a prima)

finishing

step 05
Apply final glazes and scumbles to enhance depth and luminosity, particularly in areas of light and shadow.
Tip — Be mindful of simultaneous contrast, where adjacent colors affect each other’s appearance.
Scumbling

varnishing

step 06
Once the painting is completely dry, apply a final varnish to protect the surface and unify the appearance.
Tip — Ensure the painting is fully cured to prevent trapping solvents.
Varnishing

critical techniques

Glazing

Applying transparent coats of color over a dry underpainting to build depth and luminosity, a method practiced by old masters (Source 3).

Scumbling

Using semi-opaque paint over a darker ground to create coldness or gray blooms, allowing the underlying painting to show through (Source 3).

Simultaneous Contrast

Considering how adjacent colors affect each other’s perception, ensuring harmonious color relationships in the composition (Source 5).

common pitfalls

→Applying wet paint over wet layers without allowing sufficient drying time, which can lead to cracking or muddiness.
→Ignoring the effects of simultaneous contrast, resulting in colors that appear dull or unbalanced.
→Using too much oil in early layers, which can darken the color and create a soapy surface (Source 4).
→Failing to establish a strong value structure in the grisaille underpainting, leading to weak form and light in the final work.

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 colors, background elements) are not described in the sources.
·Carlos Saenz de Tejada’s specific palette and technique preferences are not detailed in the provided passages.
·The exact dimensions and support material (canvas vs. panel) are not specified.
·The year of creation is not available, making it difficult to pinpoint the exact historical context of the materials used.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting and glazing techniques
- CHAPTER XV PAINTING IN COLOUR DIRECT FROM LIFE — applied to Flesh tone painting and medium usage
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and contrast considerations