plate no. 2214
The Madonna of the Fish (The Madonna with the Archangel Gabriel and St. Jerome)
Raphael, 1513
recreation guide
This recreation guide addresses the painting 'The Madonna of the Fish' (also known as 'The Madonna with the Archangel Gabriel and St. Jerome'), attributed to Raphael and dated to 1513. This work falls within the High Renaissance period, a time when Raphael’s style was deeply influenced by his contemporaries, particularly Michelangelo. Sources indicate that Raphael absorbed the monumental scale and complex figure postures seen in Michelangelo’s Sistine Chapel ceiling, integrating them into his own cohesive style characterized by idealized forms and harmonious composition (Source 4). The painting is executed in oil on canvas, a medium that had largely replaced egg tempera in Europe by the height of the Renaissance, offering greater flexibility, richer color density, and the ability to build layers (Source 7).
estimated time
40-60 hours over 6-8 weeks (allowing for drying times between glazes)
materials
8 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Linseed oil or Poppy seed oil | Primary binder for oil paints; provides flexibility and rich color density. | Refined linseed oil or cold-pressed poppy oil |
| Turpentine | Thinner for initial layers and cleaning brushes. | Odorless mineral spirits or pure gum turpentine |
| Ultramarine | Key blue pigment used in Raphael’s early oil layers and glazes. | Natural ultramarine or high-quality synthetic ultramarine |
| White Lead (or Titanium White for safety) | Used for highlights and mixing tints; mentioned in Reynolds’ method which reflects old master practices. | Titanium White (non-toxic alternative) |
| Black pigment (e.g., Ivory Black) | Used for shadows and underpainting tones. | Ivory Black or Mars Black |
| Red and Yellow earth pigments (e.g., Red Ochre, Yellow Ochre) | Used for glazing and scumbling to add warmth and flesh tones. | Natural Red Ochre, Yellow Ochre |
| Varnish (e.g., Copal or Dammar) | Used in later glazing stages to increase transparency and depth. | Stand oil or resin-based varnish mixed with oil |
| Canvas | Support for the painting, consistent with the artwork’s medium. | Linen canvas, primed with gesso |
preparation
surface prep
The surface should be prepared as a rigid or semi-rigid support. While Raphael often worked on wood panels, this specific work is on canvas. The ground should be smooth to allow for the fine detail characteristic of High Renaissance portraiture. Historically, grounds were often made of gypsum or chalk mixed with glue, but for oil on canvas, a modern acrylic gesso or traditional oil ground is appropriate. The goal is a neutral, slightly absorbent surface that allows for the layering of transparent glazes (Source 7).
underdrawing
Raphael was known for his detailed drawings, often leaving preparatory sketches that informed his final compositions. For this recreation, begin with a precise underdrawing using a thin wash of umber or charcoal. Raphael’s figures are noted for their idealized beauty and complex postures, influenced by Michelangelo’s anatomical studies (Source 4). Ensure the proportions reflect the 'superhuman dimension' and balance typical of the High Renaissance (Source 3).
underpainting
Begin with a monochrome underpainting, known as a grisaille. This technique involves painting the entire composition in shades of gray (using black, white, and possibly ultramarine) to establish light, shadow, and form before applying color. This method is supported by historical accounts of old masters who used monochrome preparations to mentally extract red and yellow tones, focusing first on structure (Source 1). Sir Joshua Reynolds, reflecting old master methods, described using black, ultramarine, and white for initial paintings (Source 1).
color palette
Ultramarine Blue
Pure ultramarine pigment
General use in Raphael’s palette for deep shadows and glazes; specifically noted in Reynolds’ description of old master methods (Source 1).
White
White lead (historical) or Titanium White (modern)
Highlights and mixing tints; essential for the grisaille and final glazes (Source 1).
Black
Ivory black or lamp black
Shadows and defining forms in the grisaille stage (Source 1).
Red Ochre
Natural red earth pigment
Glazing and scumbling to add warmth to flesh tones and drapery, as described in the process of coloring a monochrome (Source 1).
Yellow Ochre
Natural yellow earth pigment
Glazing and scumbling to add warmth and highlight areas, complementing the red tones (Source 1).
composition
While specific visual details of 'The Madonna of the Fish' are not described in the provided sources, Raphael’s general compositional habits during this period involved harmonizing colors and forms to create a cohesive, idealized depiction (Source 4). The figures likely exhibit the 'superhuman dimension' and balanced postures influenced by Michelangelo’s Sistine Chapel figures, which Raphael studied and imitated (Source 3, Source 4). The composition should aim for a 'highly idealised depiction of the forms' characteristic of the grand manner of the High Renaissance (Source 4).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Transfer the design to the prepared canvas using a thin wash of umber or charcoal. Focus on accurate proportions and the complex postures of the figures, reflecting Raphael’s study of Michelangelo’s anatomical innovations.
Tip — Ensure the drawing is light enough to be covered by subsequent layers but precise enough to guide the grisaille.
Underdrawing
underpainting
step 02
Apply a grisaille (monochrome) layer using black, ultramarine, and white. Establish the full range of light and shadow without color. This step mentally extracts the red and yellow tones, focusing on form.
Tip — Allow the grisaille to dry completely before proceeding. This dryness is crucial for the subsequent glazing steps.
Grisaille
first pass
step 03
Begin glazing and scumbling over the dry grisaille. Use oil as a medium to apply transparent coats of red and yellow tones. Glazing adds depth, while scumbling (semi-opaque painting) allows the underlying grisaille to show through, creating complex tonal effects.
Tip — Apply colors much like tinting an engraving with watercolors, building up transparency gradually.
Glazing and Scumbling
refining
step 04
As mastery increases, mix varnish with oil to apply further glazes. This enhances the richness and depth of the colors, particularly in the flesh tones and drapery. Pay attention to the simultaneous contrast of colors, ensuring that adjacent hues harmonize and modify each other appropriately.
Tip — Be aware of mixed contrast; the eye may perceive colors differently due to previous viewing. Adjust tones to ensure accuracy and harmony.
Varnish Glazing
finishing
step 05
Complete the painting by refining details and ensuring the overall harmony of the composition. The final result should reflect the idealized beauty and balanced forms characteristic of Raphael’s High Renaissance style.
Tip — Avoid overworking the paint; maintain the vitality of the medium and the illusion of natural appearances without losing the symbolic nature of the art.
Final Glazing
critical techniques
Glazing
A transparent coat of color applied over a dry underpainting to create depth and luminosity. Raphael and other old masters used this extensively to build up rich, complex tones.
Scumbling
A semi-opaque painting technique applied over a darker ground to create coldness or gray blooms, allowing the underlying layer to influence the final color.
Simultaneous Contrast
Understanding that adjacent colors affect each other’s perception. The painter must adjust tones to account for this, ensuring harmony and accurate color representation.
common pitfalls
- →Applying glazes before the underpainting is completely dry, which can lead to muddiness and cracking.
- →Ignoring the effects of simultaneous contrast, resulting in colors that appear inaccurate or disharmonious.
- →Overworking the paint, losing the vitality and symbolic nature of the medium in favor of mere naturalism.
- →Using too much opaque paint in early stages, preventing the luminous depth achieved through glazing.
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 iconographic details of 'The Madonna of the Fish' (e.g., exact poses, attributes of St. Jerome and Gabriel) are not described in the sources.
- ·Raphael’s specific pigment recipes for this particular painting are not provided; the guide relies on general High Renaissance practices.
- ·The exact dimensions and aspect ratio of the original canvas are not specified.
- ·Details about the specific varnish or resin Raphael used are not available, though general old master practices are cited.
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 (grisaille), glazing, and scumbling techniques.
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and simultaneous contrast adjustments.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Florentine painting↗
- Florentine painting — part 11 — applied to Context of Raphael’s influence from Michelangelo and High Renaissance style.
Wikipedia bio — Raphael↗
- Raphael — part 6 — applied to Raphael’s adoption of Michelangelo’s figure styles and idealized forms.
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to General oil painting materials and historical context.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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