plate no. 2761

Antoine Gaspard Grimold de la Reyniere

pastel, canvasRococoportraitportraitfiguremanclothingwigchair

what to study here

It shows how a pastel portrait can hold a convincing likeness using a narrow mid-tone range, soft edges and a few carefully placed light accents.

Study how the face is built as one warm light shape against a dark ground. Light comes from the upper left and hits the forehead, nose and near cheek, while the far cheek drops into a soft, warm shadow. Squint and the head reads as a single mass, with the terracotta coat as the second large light shape. The lightest values are saved for small accents: the forehead highlight, the lace cuffs and the jabot. The darkest darks sit in the background, the hair's underside, the eye sockets and the chair recesses, so the figure advances. Look at the edges. Face-to-shadow and coat-to-background transitions are soft and blended, and the lace is modeled through value, not outlined. The hair is a silvery mass built from curved strokes that follow the waves and curls, with no individual hairs drawn. The gold trim on the coat is suggested with small bright linear marks. The coat is a narrow mid-tone band, so most of the drama comes from edge control and where the lightest values are placed. Copy the value map before the details.

key decision

The painter reserved the lightest values for a few isolated accents (forehead, lace cuffs, jabot) and kept the face and coat in a narrow warm mid-tone band against a dark ground. Edges stay soft throughout, so the face reads as one light mass.

recreation guide

This artwork is a pastel portrait by Maurice Quentin de La Tour, a master of the Rococo period known for his exceptional skill in dry media rather than oil. De La Tour’s practice was defined by his ability to render flesh tones and textures with a luminosity that rivaled oil painting, using soft pastels on prepared surfaces. The specific subject, Antoine Gaspard Grimold de la Reyniere, represents the artist's focus on capturing the likeness and character of his sitters, a genre that served as important social records for the French elite. Unlike oil painters who built up layers of wet paint, de La Tour worked directly with dry pigment, requiring a surface that could hold the powder without smudging while allowing for subtle blending.

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

4 in sequence

materials

item	purpose	modern equivalent
Soft pastels (high pigment load)	Primary medium for applying color and building form.	Professional grade soft pastels (e.g., Sennelier, Holbein)
Linen canvas	Support structure. Linen is preferred for its strength and stability, suitable for professional work.	Primed linen canvas
Gesso or ground preparation	To create a 'tooth' for the pastel to adhere to. A smooth surface causes color to slip, while a distinct tooth is necessary for hold.	Acrylic gesso or traditional rabbit-skin glue size with gesso
Blending stumps or fingers	To soften edges and blend tones, particularly in flesh areas, achieving the 'unctuous' look de La Tour was known for.	Paper blending stumps or tortillons
Fixative (optional/historical caution)	To prevent smudging between layers, though de La Tour often worked without heavy fixatives to maintain vibrancy.	Workable fixative spray

preparation

surface prep

The canvas should not be highly primed to the point of being glass-smooth, as color slips on such surfaces and gains no hold. A distinct tooth is a necessity for pastel adhesion (Source 3). For a portrait of a man, a slightly coarser texture might be suitable compared to a child's face, but the surface must allow the pastel to grip. The artist should prepare the linen canvas with a ground that provides this texture, avoiding the overly polished, enamel-like finish used by Flemish masters for oil, which would be unsuitable for dry media (Source 4).

underdrawing

De La Tour’s preparatory methods are not explicitly detailed in the provided sources, but general practice for pastel portraits involves a light underdrawing to establish proportions and key features. Given the artist's reputation for directness and the 'sound craftsman' approach, the underdrawing should be minimal and executed in a neutral pastel tone to avoid muddying subsequent layers. The focus should be on accurate likeness, as portrait painting aims to represent a specific human subject recognizably (Source 8).

underpainting

In pastel, 'underpainting' is effectively the first layer of color application. De La Tour likely began with broad masses of color to establish the tonal values and composition. The sources advise that copying works can help correct weaknesses in handling broad masses versus finish (Source 1). The artist should lay down the general hues of the skin, clothing, and background, ensuring the values are correct before refining details.

color palette

Flesh tones (various)

Mixtures of white, yellow ochre, red ochre, and subtle blues/purples for shadows.

General use in this artist's palette; de La Tour was renowned for his nuanced skin tones.

Earth tones (ochres, umbers)

Natural and burnt ochres, brown earths.

Clothing and background, providing fixed, covering tones that dry easily (Source 5).

Whites and Blacks

Chalk white or white lead derivatives; various blacks from combustion (ivory, grapestone).

Highlights and deep shadows, essential for value contrast (Source 5).

Complementary accents

Blue-orange or red-green pairs as needed for local color.

Creating contrast and depth in the portrait, utilizing the principle that complementary colors create strong contrast when placed next to each other (Source 6).

composition

The composition of a portrait is distinct from its subject, focusing on the organization of visual elements such as line, shape, value, and space (Source 7). De La Tour’s portraits typically feature a bust-length or half-length format, centering the sitter to emphasize their facial expression and attire. The artist likely used the 'elements of design' to guide the viewer’s eye, with the face as the central visual element. The background is usually subdued to ensure the sitter remains the focal point, consistent with the genre’s intent to memorialize the subject (Source 8).

step by step

underdrawing→first pass→refining→finishing

underdrawing

step 01
Lightly sketch the proportions of the head and shoulders using a neutral pastel. Focus on the likeness, as the goal is a recognizable record of the sitter (Source 8).
Tip — Avoid pressing too hard; the pastel should remain erasable.
Proportional sketching

first pass

step 02
Apply broad masses of color to establish the overall tonal values. Use earth tones for clothing and background, and flesh tones for the face. Ensure the canvas has enough tooth to hold the pigment (Source 3).
Tip — Check for 'slipping' color; if the surface is too smooth, the pastel will not adhere (Source 3).
Blocking in

refining

step 03
Refine the facial features, paying attention to the transition between light and shadow. Use complementary colors to enhance contrast in shadows and highlights (Source 6).
Tip — Avoid over-modeling; if you are too timid to depart from the outline, try copying works that encourage broader handling (Source 1).
Blending and layering

finishing

step 04
Add final details and highlights. Use white for specular highlights on the eyes and nose. Ensure the likeness is accurate and the character of the sitter is captured.
Tip — Step back frequently to assess the overall composition and likeness.
Detailing

critical techniques

Surface Tooth Management

Ensuring the canvas has a distinct tooth to hold the pastel. A smooth surface causes color to slip, while a rough surface may absorb too much color. The artist must find a balance suitable for the subject (Source 3).

Color Mixing and Contrast

Using complementary colors to create strong contrast and depth. For example, placing blue next to orange to make both hues appear more vibrant (Source 6).

Likeness Capture

Focusing on accurate representation of the sitter’s features, as portrait painting aims to provide a recognizable record of the subject (Source 8).

common pitfalls

→Using a canvas that is too smooth, causing the pastel to slip and not adhere (Source 3).
→Over-modeling or being too tied down to the outline, which can result in a stiff appearance. Copying works that encourage broader handling can help correct this (Source 1).
→Ignoring the importance of the medium's capacities. Without understanding the pastel's behavior, the artist is 'dumb' as a thinker incapable of reducing thoughts to words (Source 1).
→Using colors that are not substantial or fixed, leading to chemical reactions or fading. Earths and ochres are recommended for their fixedness and covering qualities (Source 5).

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·Specific details of the sitter's clothing, jewelry, or background are not described in the sources, so the artist must rely on historical references or imagination for these elements.
·De La Tour's exact method of fixing layers (if any) is not detailed in the provided sources, though historical records suggest he often worked without fixative to preserve vibrancy.
·The specific palette of colors used for this particular portrait is not listed, so the artist must infer from general Rococo pastel practices.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting↗
- ON COPYING — applied to Advice on correcting weaknesses in handling broad masses and finish, and the importance of understanding the medium.
- MATERIALS — applied to Preparation of the canvas ground, emphasizing the need for tooth to hold pastel.
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Use of earths, ochres, and fixed colors for stability and covering power.

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia: Canvas↗
- Canvas — applied to Choice of linen canvas and its suitability for professional work.
Wikipedia: Complementary colors↗
- Complementary colors — applied to Application of color theory to create contrast and depth in the portrait.
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — applied to General principles of organizing visual elements in the portrait.
Wikipedia: Portrait painting↗
- Portrait painting — applied to Purpose of portraiture as a recognizable record of the sitter.

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

Light enters from the upper left, catching the figure's forehead, nose, and the near side of his face while leaving the far cheek in soft shadow. The sitter is positioned three-quarter view, seated in an ornate chair whose carved wooden back and blue upholstery anchor the composition on the left. Your eye lands first on his face—particularly the alert, intelligent gaze—then travels down the warm terracotta coat with its gold embroidered trim, then to the white lace cuffs and waistcoat. The dark background recedes sharply, making the figure advance.

value structure

The darkest darks cluster in the background and shadows (the hair's underside, the chair back's recesses, the shadowed cheek). Mid-tones dominate—the warm terracotta coat and flesh tones sit in a narrow band. The lightest values are reserved for isolated accents: the forehead highlight, the white lace cuffs, and the small lace jabot at the neck. Squint and you'll see the face reads as a warm-light mass against the dark background, with the coat as the second major light shape.

observed palette and mixes

#181a1e
Ivory black + raw umber, slightly warm
Background, deepest shadows in the hair, interior folds of the coat, chair carvings
#996859
Cadmium red light + yellow ochre + touch of raw umber
The dominant terracotta coat; also mixed lighter for mid-tone flesh
#bd9583
Titanium white + cadmium red light + yellow ochre
Forehead, cheekbone highlights, bridge of nose, and the illuminated side of the neck
#735047
Raw umber + cadmium red light, leaning warm
Shadowed cheek, side of neck in shadow, lower jaw definition
#473937
Raw umber + ivory black
Dark accents in hair curls, eye sockets, nostril shadows, coat folds
#312e30
Ivory black + touch of ultramarine blue
The chair upholstery (blue-toned), deepest background in upper corners

edges and brushwork

Edges here are deliberately soft and blended—especially where the face meets shadow and where the coat transitions to background. The white lace cuffs have crisper definition but still blur slightly where they catch light; they're not outlined but modeled through value. Hair is rendered with curved, directional strokes that follow the waves and curls without describing individual hairs; the whole reads as a unified silvery mass. The coat's gold embroidery is suggested through small, bright linear marks rather than detailed rendering.

a working sequence

01
Establish the background and value foundation
Begin with a thinned wash of the dark background color (ivory black + raw umber) covering the entire canvas except where the figure will sit. Work this background slightly warmer on the left side near the light source. Don't leave it flat—let it be slightly warmer near the head and cooler (add ultramarine) in the upper corners. This warm-dark envelope will make your flesh tones sing.
02
Block in the chair and composition scaffold
Using a mid-value brown (raw umber + touch of ultramarine), lay in the curved back of the chair and its visible arm on the left. Note that the chair back curves inward—it's not straight. This anchor will guide all proportions. Lightly indicate the sitter's seated posture and shoulder width relative to the chair.
03
Mass in the head and neck
Using your warmest mid-tone (cadmium red light + yellow ochre + white), block in the entire head and neck as a single light shape. Keep it loose. The head tilts very slightly to the right. Note the slight bulge of the jaw and the squared-off chin. Don't worry about features yet—just establish that the near side of the face (his right) is notably lighter than the far side.
04
Render the face form and shadow planes
Move to shadow: mix raw umber + cadmium red light into a warm brown slightly darker than your base flesh tone. Apply this to the far cheek (his left), the side of the nose, and under the jawline. Blend where shadow meets light along the nose bridge and cheekbone. The forehead stays quite light. The eye sockets need darker definition—use your darkest mix (raw umber + ivory black) carefully around the eyes to establish the gaze direction before adding any iris detail.
05
Add highlights and feature definition
Mix your lightest flesh tone (titanium white + cadmium red light + yellow ochre) and place highlights on the forehead, the tip and bridge of the nose, and the upper cheekbone of the lit side. These should be warm and glowing, not chalky. Add a small highlight to the lower lip. Define the eyes with a tiny bright accent on the iris (upper left of each pupil, catching that upper-left light source). The expression depends heavily on getting these subtle eye highlights right.
06
Paint the terracotta coat and gold embroidery
Establish the coat color (your #996859 mix) over the torso and sleeves. Notice the coat has cool shadows in its folds—add ultramarine blue to your terracotta mix for shadow creases. The gold embroidered trim running down the front and around the cuffs should be suggested with cadmium red light + yellow ochre mixed bright, applied in short directional marks that follow the ornament's flow. Don't outline the trim; let it live through color and value alone.
07
Render the hair and wig
The hair is a cool silvery gray—mix titanium white + ultramarine blue + touch of raw umber. Apply this over the entire wig mass, but leave it slightly darker (less white) on the underside and in the curls' shadows. Follow the direction of the waves and curls with your brush strokes; they should curve and flow, not be rigid. The curls on the sides are quite pronounced and catch a bit of warm light—add a touch of yellow ochre to your gray mix for these lit edges. The small lock of hair above his ear should be darker and more defined.
08
Layer the white lace cuffs and jabot
Using titanium white + touch of yellow ochre (kept warm), paint the white lace cuffs at the wrists. These are not pure white—they have warm undertones and soft shadows within the lace texture. Suggest the lace's intricacy with tiny shadow lines (ultramarine + raw umber) rather than painting every detail. The jabot at the neck is similarly handled: white fabric with enough shadow to show form and delicacy. These passages should look luminous but not flat or graphic.
09
Unify and refine edges
Step back and soften edges throughout: blend where the figure meets the background, soften the transition from shadow to light on the face, and ensure no hard lines separate the coat from the background. Check your values by squinting—the face should read as a unified warm light shape. Add final accents to the eyes and refine the mouth's subtle smile. The small butterfly or pin detail visible in the hair should be a warm accent (yellow ochre + raw umber) just suggested, not laboriously rendered.

where studies of this painting go wrong

Making the hair pure white or too bright—it is a cool gray-silver, distinctly darker than the lace cuffs. Students often treat 18th-century wigs as if they glow; they don't.
Overworking the lace and embroidered trim as graphic details. The gold embroidery and white cuffs must remain soft and luminous; painting them with crisp outlines will destroy the Rococo delicacy.
Placing the shadow on the wrong side of the face or making it too harsh. The shadow is on the far side (his left), and it remains warm—never gray or purple. It's a subtle value shift, not a dramatic plane break.
Neglecting the slight tilt of the head. The figure leans slightly to his right; missing this tilt flattens the portrait's personality.
Painting the background as uniform darkness. The background is warmest near the head and cools toward the corners; this subtle shift adds light and atmosphere.

measured difficulty