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home·artworks·The Penitent Magdalene
The Penitent Magdalene by Guercino

plate no. 7666

The Penitent Magdalene

Guercino, 1655

oilBaroquereligious paintingfigurecrucifixskullbookdraperylandscape
experienced study

Recreating this painting will help students develop skills in figure painting, drapery rendering, and creating a sense of depth through atmospheric perspective. It also offers practice in subtle color mixing for skin tones and fabric.

technical profile

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

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure, crucifix, skull, and book.

  2. step 02

    Establish the background with a light blue sky and dark, earthy tones for the landscape.

  3. step 03

    Block in the main shapes of the figure, paying attention to proportions and anatomical accuracy.

  4. step 04

    Begin layering the drapery, using a limited palette of reds and browns to create folds and shadows.

  5. step 05

    Develop the skin tones with subtle gradations of pink, yellow, and brown, focusing on the light and shadow.

  6. step 06

    Add details to the crucifix, skull, and book, using fine brushes to capture the textures and forms.

  7. step 07

    Refine the hair with delicate brushstrokes, creating a sense of movement and volume.

  8. step 08

    Add final highlights and shadows to enhance the overall depth and realism of the painting.

color palette

primary · titanium white · cadmium red · raw umber

secondary · ultramarine blue · yellow ochre · ivory black

Achieve skin tones by mixing titanium white, cadmium red, and a touch of yellow ochre. Create the drapery shadows by adding raw umber and ivory black to the cadmium red.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·blending
  • ·underpainting

common pitfalls

  • →Overworking the skin tones, resulting in a flat or lifeless appearance.
  • →Failing to capture the subtle nuances of the drapery folds.
  • →Ignoring the importance of light and shadow in creating depth and form.
  • →Getting the proportions of the figure wrong.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·cadmium red oil paint
  • ·raw umber oil paint
  • ·ultramarine blue oil paint
  • ·yellow ochre oil paint
  • ·ivory black oil paint
  • ·#2 round brush
  • ·#6 filbert brush

optional

  • ·linseed oil
  • ·turpentine
  • ·palette knife
  • ·retouch varnish

Use high-quality oil paints for best results. Consider using a toned canvas to speed up the underpainting process.

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related guides

oil painting for beginners →chiaroscuro →how to learn by studying the masters →
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