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home·artworks·Belisarius
Belisarius by François Gérard

plate no. 2234

Belisarius

François Gérard, 1797

oil, canvasNeoclassicismhistory paintingfigureslandscapeskywatermountainsfoliage
some experience helpful

Recreating this painting will help students develop skills in figure drawing, particularly anatomy and drapery, as well as blending techniques for creating soft transitions in skin tones and atmospheric perspective.

technical profile

palette complexity
4
brushwork visibility
2
value contrast
3
compositional simplicity
4

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Create a preliminary sketch outlining the composition, focusing on proportions and placement of figures.

  2. step 02

    Block in the background sky and landscape with thin washes of color, establishing the overall tone and atmospheric perspective.

  3. step 03

    Begin painting the figures, starting with the underpainting of the skin tones using a limited palette.

  4. step 04

    Gradually build up the layers of skin tones, paying attention to highlights and shadows to create form.

  5. step 05

    Paint the drapery, carefully observing the folds and highlights to convey the texture and weight of the fabric.

  6. step 06

    Add details to the landscape, such as foliage and water, using small brushstrokes and varying values.

  7. step 07

    Refine the figures' features and details, such as hair, eyes, and clothing.

  8. step 08

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

color palette

primary · titanium white · burnt umber · cadmium red · yellow ochre

secondary · ultramarine blue · viridian green · ivory black

Mix skin tones using white, yellow ochre, burnt umber, and a touch of red. Achieve the sky's gradient by blending blues, yellows, and reds with white. Use glazes of burnt umber and black to create shadows and depth.

techniques

  • ·figure drawing
  • ·blending
  • ·glazing
  • ·atmospheric perspective
  • ·drapery rendering

common pitfalls

  • →Incorrect proportions of the figures
  • →Overblending, resulting in a muddy appearance
  • →Ignoring the subtle color variations in skin tones
  • →Failing to create a sense of depth in the landscape

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·burnt umber oil paint
  • ·cadmium red oil paint
  • ·yellow ochre oil paint
  • ·#2 round brush
  • ·#6 flat brush
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·turpentine
  • ·mahogany palette

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

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