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home·artworks·A Jersey Lily, Portrait of Lillie Langtry
A Jersey Lily, Portrait of Lillie Langtry by John Everett Millais

plate no. 6741

A Jersey Lily, Portrait of Lillie Langtry

John Everett Millais, 1878

oilRealismportraitportraitfiguredressflowerlacehair
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones. Students will also learn to create depth and dimension using subtle value changes and soft blending techniques.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the figure, paying attention to the pose and composition.

  2. step 02

    Establish the background with a thin wash of muted browns and greens.

  3. step 03

    Block in the main areas of color for the skin, hair, and dress, focusing on the overall value structure.

  4. step 04

    Begin refining the facial features, paying close attention to the subtle shifts in value and color.

  5. step 05

    Develop the details of the dress, including the lace collar and cuffs, using small, precise brushstrokes.

  6. step 06

    Add the flower and other accessories, paying attention to their color and texture.

  7. step 07

    Refine the background and adjust the overall lighting to create a sense of depth and atmosphere.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · ivory black · raw umber · burnt sienna · titanium white

secondary · alizarin crimson · yellow ochre · sap green

Mix skin tones by blending white, yellow ochre, and alizarin crimson. Use raw umber and ivory black to create the dark tones of the dress. Muted greens and browns are achieved by mixing the primary colors.

techniques

  • ·portraiture
  • ·blending
  • ·glazing
  • ·scumbling
  • ·chiaroscuro

common pitfalls

  • →Overworking the skin tones and losing the subtle variations in value.
  • →Creating a flat, lifeless background.
  • →Failing to capture the likeness of the subject.
  • →Getting the proportions wrong in the initial sketch.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·alizarin crimson oil paint
  • ·yellow ochre oil paint
  • ·assorted brushes (round and flat)

optional

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

Use high-quality oil paints for best results. A medium-sized canvas (16x20 or 18x24) is recommended.

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