apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Pazzi Crucifixion (detail 2)
The Pazzi Crucifixion (detail 2) by Pietro Perugino

plate no. 4295

The Pazzi Crucifixion (detail 2)

Pietro Perugino, 1496

oilEarly Renaissancereligious paintingfigurelandscapehaloreligiousportraitrobe
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing subtle skin tones and rendering drapery with soft folds. It also provides practice in creating a sense of depth in a landscape.

technical profile

palette complexity
3
brushwork visibility
2
value contrast
3
compositional simplicity
4

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the main shapes: the figure, the robe, and the basic landscape elements.

  2. step 02

    Block in the large areas of color: the skin tones, the red robe, the black dress, and the background.

  3. step 03

    Start refining the skin tones, paying attention to the subtle shifts in value and color.

  4. step 04

    Develop the folds and shadows in the robe, using a combination of blending and layering.

  5. step 05

    Add details to the face, such as the eyes, nose, and mouth, and the hair.

  6. step 06

    Work on the background, creating a sense of depth with atmospheric perspective.

  7. step 07

    Add the halo with a thin brush and light color.

  8. step 08

    Refine the details and adjust the values as needed.

color palette

primary · red ochre · raw umber · titanium white · ivory black

secondary · yellow ochre · sap green · ultramarine blue

Achieve skin tones by mixing white with small amounts of red ochre, raw umber, and yellow ochre. Create the red robe by layering red ochre with touches of raw umber for shadows. Mix greens for the landscape by combining yellow ochre and ultramarine blue.

techniques

  • ·glazing
  • ·scumbling
  • ·blending
  • ·atmospheric perspective
  • ·portraiture

common pitfalls

  • →Overblending the skin tones, resulting in a flat appearance.
  • →Making the robe too bright and saturated.
  • →Neglecting the subtle value shifts in the background.
  • →Incorrect proportions of the figure.

materials

surface · stretched canvas

required

  • ·Stretched canvas
  • ·Acrylic or oil paints
  • ·Round brushes (sizes 0, 2, 4)
  • ·Flat brushes (sizes 4, 6)
  • ·Palette
  • ·Palette knife
  • ·Linseed oil or acrylic medium
  • ·Odorless mineral spirits or water

optional

  • ·Retouch varnish
  • ·Easel
  • ·Color wheel

Use a smooth canvas for easier blending. Acrylics will dry faster, while oils allow for more blending time.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Madonna Enthroned with Saints

Madonna Enthroned with Saints

Filippo Lippi

Christ the Judge (detali)

Christ the Judge (detali)

Fra Angelico

The Dead Christ Supported by an Angel

The Dead Christ Supported by an Angel

Antonello da Messina

St. Michael and St. John

St. Michael and St. John

Álvaro Pires de Évora

Penitent St. Jerome

Penitent St. Jerome

Fra Angelico

St. Nicholas of Tolentino

St. Nicholas of Tolentino

Pietro Perugino

The Madonna and Child with the Infant Saint John the Baptist

The Madonna and Child with the Infant Saint John the Baptist

Sandro Botticelli

Coronation of the Virgin (detail)

Coronation of the Virgin (detail)

Filippo Lippi