apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Портрет И.Репина (этюд)
Портрет И.Репина (этюд) by Grigoriy Myasoyedov

plate no. 2362

Портрет И.Репина (этюд)

Grigoriy Myasoyedov, 1883

oilRealismportraitportraitfiguremanbeardfacedark background
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing likeness and using a limited palette to create depth and form. It will also improve understanding of chiaroscuro.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the head and shoulders.

  2. step 02

    Establish the darkest areas of the background and clothing with a thin wash of dark brown.

  3. step 03

    Block in the general skin tones with a mid-tone mixture of brown, white, and a touch of red.

  4. step 04

    Begin to refine the facial features, paying close attention to the highlights and shadows.

  5. step 05

    Develop the beard and hair, using short, broken brushstrokes to create texture.

  6. step 06

    Add details to the eyes, nose, and mouth to capture the subject's likeness.

  7. step 07

    Adjust the values and colors throughout the painting to create a sense of depth and realism.

  8. step 08

    Add final highlights and details to complete the portrait.

color palette

primary · burnt umber · raw umber · titanium white · yellow ochre

secondary · cadmium red · ivory black

Achieve skin tones by mixing white, yellow ochre, and a touch of red. Use burnt umber and ivory black to create dark shadows and background tones. Vary the proportions to create subtle shifts in color temperature.

techniques

  • ·chiaroscuro
  • ·dry brushing
  • ·scumbling
  • ·blending
  • ·layering

common pitfalls

  • →Over-blending, resulting in a flat, lifeless appearance.
  • →Incorrect proportions, leading to a distorted likeness.
  • →Ignoring the subtle value shifts in the skin tones.
  • →Using too much black, making the painting appear muddy.

materials

surface · stretched canvas

required

  • ·stretched canvas (12x16 inches)
  • ·burnt umber oil paint
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·cadmium red oil paint
  • ·ivory black oil paint
  • ·round brushes (sizes 2, 4, 6)

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use a canvas with a smooth surface for easier blending. Consider using a medium to thin the paint and improve flow.

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

Portrait of James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco

Self-Portrait II

Self-Portrait II

Mihaly Munkacsy