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home·artworks·A portrait of Dmitry Rovinsky
A portrait of Dmitry Rovinsky by Vladimir Makovsky

plate no. 1925

A portrait of Dmitry Rovinsky

Vladimir Makovsky, 1894

oilRealismportraitportraitfigurebeardclothingbooksinterior
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones and textures. It also provides practice in depicting fabric and creating a sense of depth through subtle value changes.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Create a light sketch outlining the basic shapes and proportions of the figure and background elements.

  2. step 02

    Establish the overall value structure by blocking in the dark areas of the clothing and background.

  3. step 03

    Begin layering in the mid-tones and highlights on the face, hands, and beard, paying attention to the subtle color variations.

  4. step 04

    Develop the details of the facial features, focusing on capturing the likeness and expression of the subject.

  5. step 05

    Add texture to the beard using short, broken brushstrokes.

  6. step 06

    Refine the details of the clothing and background, adding subtle highlights and shadows.

  7. step 07

    Glaze thin layers of color to unify the painting and enhance the overall color harmony.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

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

secondary · yellow ochre · cadmium red light · ultramarine blue

Mix skin tones by blending white, yellow ochre, and a touch of red. Use raw umber and black to create the dark tones of the clothing. Achieve the beard's color by layering white with small amounts of yellow ochre and raw umber.

techniques

  • ·portraiture
  • ·blending
  • ·layering
  • ·dry brushing
  • ·glazing

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated.
  • →Losing the likeness of the subject.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·round brushes (various sizes)
  • ·flat brushes (various sizes)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·odorless mineral spirits

Use high-quality oil paints for best results. A medium-grit canvas will provide a good surface for layering.

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