Award winning drawing - Christ’s Centurion

The inspiration for this drawing came about over a pint of beer - but that's another story explained below.
This coloured pencil drawing was initially planned as a large oil painting; time constraints meant it became a pencil study in diverse textures on a large scale.

This large drawing, measuring 25 x 35 inches, is now owned by a private collector in Yorkshire.

UKCPS Open Exhibition - People’s Choice Award 2019
International Art Renewal Salon Finalist 2019
Strokes of Genius - Finalist Vol 12
International Artist magazine - feature article drawing demonstration 2020

(Concept inspired by a sermon delivered by the Rev Jez Safford)

Pencil drawing 25” x 35” on Pastelmat by David Sandell

(Historical note: The type of armour shown in the drawing was developed during a later period of the first century similar to archaeological find at Corbridge, near Hadrian’s Wall and has been used in this composition for dramatic effect.)

Extract from Rev Safford’s sermon:

“Crucifixions were not jobs for the squeamish. Centurions had to stand watch while men died slowly and painfully on their crosses. They would have become hardened to the experience to survive. BUT Jesus’ death was different. There was something different about Jesus that shook this Centurion. The question is: What was it about Jesus’ death that was different? We read from the bible that the Centurion overheard Jesus say on the cross, “Father, forgive them, for they do not know what they are doing.” Never, ever, would he have heard that before; cursing, crying, screaming innocence maybe, but not that. When the Centurion saw that in this way he breathed his last, he said, “Truly this man was the Son of God!”

According to some Church traditions, the Centurions name was Longinus. After the crucifixion and burial of Jesus he and his soldiers were present at the Resurrection. Having come to faith in Jesus, the soldiers were baptised by the apostles and decided to leave military service. Longinus left Judea to testify about Jesus in his native land Cappadocia (now modern day Turkey), and his two comrades followed him. Their testimonies, along with the disciples and those who witnessed the death and resurrection of Jesus, changed the hearts and minds of ordinary people and in time the Emperor of Rome himself! Christianity began quickly to spread throughout the Roman Empire and over 2000 years later it is a global faith. Jesus is still alive and ministering his love to us through the Holy Spirit. How does the story of the Centurion through this wonderful pencil drawing speak to you? “

Many of my non-commissioned portraits are inspired by books I’ve read, things I’ve heard or people I’ve met. I have a long standing interest in Roman history; I was born and raised in a shipbuilding town on the north east coast of England near a town called Wallsend, this is actually the end of Hadrian’s Wall, built by Emperor Hadrian on the northern frontier of the Roman Empire; I like to think there is still something of the Roman legions left in my genes!

Pencil study of Centurion

Inspiration for this case study came from a conversation with a friend over a few beers. We discussed how we rarely see epic historical paintings anymore, at least not in public view in the UK. I mentioned how I’d always wanted to paint an epic, but didn’t have the time or funding for one. My drinking buddy, the Reverend Jez Safford, then made a suggestion; we discussed a recent sermon he’d delivered about the Centurion present at the crucifixion of Jesus; he suggested this as a theme. In his sermon, he was making the point that, here was an experienced soldier who had seen a lot of violence. Crucifixions were not jobs for the squeamish and Centurions had to stand and watch while people died slowly and painfully on their crosses. The soldiers had become hardened to the experience to survive. But for this Centurion, something about this man’s death was different.

 Ideally this piece would have been a large oil painting; time constraints meant it became a pencil study followed by this larger drawing that simply got out of control and took on a life of its own. Interestingly, my friend Jez is also the Chaplain to the local Northampton Saints Rugby Club and he had the perfect model in mind. Within twenty-four hours the rugby player in question had agreed to be the model! From this point, it was all down to me. I hired a complete Roman uniform, then worked up some initial pencil studies and planned a photographic shoot of various poses in costume. The 6’ 4” rugby player, ironically named Christian, was the ideal model for my Centurion; he was in his final playing year and had seen some serious action in his career taking some big hits, without the protection of armour I should add!

 Historical themes can be fraught with challenges: historical accuracy, lack of authentic props and so on. Even though I’d ordered the costume to fit Christian, the largest helmet was still too small for his head. I decided that, by holding the helmet, it would reveal more of his marvellous face and also convey a slightly disarmed gesture.

 After some initial thumbnail sketches, I produced a small coloured pencil study to work out the composition. I planned to create the background later, in sympathy with the model’s lighting. I decided to lose the cloak, giving a clearer view of the armour. (Historical note: The armour shown in the drawing was developed during a later period of the first century and has only been used in this composition for dramatic effect).

Initial rough pencil study

 As a process, I often work on grey PastelMat as this provides a mid-tone for the artwork. I use a dark red (Derwent studio - Burnt Carmine) for my initial drawing and to establish initial values. I approach coloured drawings in much the same way as I do for oil paintings. I establish the basic drawing, then an initial statement of the darks, I then indicate the lightest areas followed by key half tones, deciding in each case whether these are warm or cool. I then repeat these stages in cycle, building up the values and colours, repeatedly checking the drawing for accuracy. However, I am not pursuing photorealism, there are many artists who do this extremely well. My work is not intended to be photographic; I want it to be convincing but still a drawing, where I have the freedom to select what to keep and what not to keep, to control colour, composition, values, edges and mood.

March 2019