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home·artworks·Vision of St. Augustine
Vision of St. Augustine by Filippo Lippi

plate no. 0156

Vision of St. Augustine

Filippo Lippi, 1438

wood, temperaEarly Renaissancereligious paintingfiguresinteriorbooksarchitecturereligiousdesk
some experience helpful

Recreating this painting will help students develop skills in depicting figures in robes, understanding linear perspective, and creating a sense of depth with color and value.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figures and the architectural elements.

  2. step 02

    Establish the main light source and map out the areas of light and shadow.

  3. step 03

    Begin with the background, applying thin washes of color to create the aged wall texture.

  4. step 04

    Paint the figures, starting with the underpainting and gradually building up the layers of color and detail.

  5. step 05

    Pay close attention to the folds and drapery of the robes, using subtle variations in value to create depth.

  6. step 06

    Add details to the desk and books, using a fine brush to capture the intricate patterns and textures.

  7. step 07

    Glaze the painting with thin layers of color to unify the composition and enhance the overall effect.

  8. step 08

    Add final highlights and shadows to create a sense of realism.

color palette

primary · raw umber · burnt sienna · ivory black

secondary · yellow ochre · red oxide

Mix raw umber and ivory black to create the dark tones of the robes. Use burnt sienna and yellow ochre for the walls and desk, adding white to lighten the tones.

techniques

  • ·glazing
  • ·underpainting
  • ·scumbling
  • ·linear perspective
  • ·chiaroscuro

common pitfalls

  • →Overworking the details and losing the overall sense of harmony.
  • →Failing to establish a strong light source and creating flat, lifeless forms.
  • →Using colors that are too saturated and clashing with the muted tones of the painting.
  • →Ignoring the subtle variations in value and creating a monotonous composition.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·ivory black oil paint
  • ·yellow ochre oil paint
  • ·red oxide oil paint
  • ·titanium white oil paint
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round and flat)

optional

  • ·palette knife
  • ·retouch varnish
  • ·medium

Use high-quality oil paints for best results. Allow each layer of paint to dry before applying the next.

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