apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·A Philosopher
A Philosopher by Jan Lievens

plate no. 0618

A Philosopher

Jan Lievens, 1627

oilBaroqueportraitfigureportraitbooksbeardhatscroll
experienced study

Recreating this painting will help students develop skills in portraiture, particularly rendering realistic skin tones and textures, and understanding chiaroscuro to create depth and drama. It also provides practice in depicting aged features and the textures of different materials like paper and cloth.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure and the books.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber or similar earth tone.

  3. step 03

    Block in the main areas of color: the skin tones, the clothing, the books, and the background.

  4. step 04

    Begin layering and blending the skin tones, paying close attention to the subtle variations in color and value.

  5. step 05

    Develop the details of the beard, using small brushstrokes to create texture and volume.

  6. step 06

    Refine the details of the books and scroll, adding highlights and shadows to create depth.

  7. step 07

    Adjust the overall lighting and contrast, adding highlights where needed and deepening the shadows.

  8. step 08

    Add final details and glazes to unify the painting and enhance the colors.

color palette

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

secondary · ivory black · ultramarine blue · cadmium yellow light

Achieve skin tones by mixing white, yellow ochre, and a touch of burnt umber. Use ultramarine blue and black to create the dark tones of the hat and shadows. Mix raw umber and yellow ochre for the books and scroll.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·portraiture
  • ·underpainting

common pitfalls

  • →Overblending the skin tones, resulting in a flat, lifeless appearance.
  • →Neglecting the subtle variations in color and value, leading to a lack of realism.
  • →Getting lost in the details too early, before establishing the overall value structure.
  • →Failing to create a sense of depth and atmosphere.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints (raw umber, burnt umber, titanium white, yellow ochre, ivory black, ultramarine blue)
  • ·linseed oil
  • ·odorless mineral spirits
  • ·assorted round and flat brushes
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·mahl stick

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

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →chiaroscuro →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Girl with a Straw Hat

Girl with a Straw Hat

Judith Leyster

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Abraham Storck

Bathsheba Bathing

Bathsheba Bathing

Francesco Solimena

Repentant Peter

Repentant Peter

Guido Reni

Itinerant Musicians

Itinerant Musicians

Jacob Ochtervelt

Marie Christine

Marie Christine

Marcello Bacciarelli

Santa Cecilia E Due Angeli

Santa Cecilia E Due Angeli

Giulio Cesare Procaccini

Scene from the Life of Saint Benedict

Scene from the Life of Saint Benedict

Philippe de Champaigne