apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Boy with a Dead Goldfinch
Boy with a Dead Goldfinch by Vasily Tropinin

plate no. 3234

Boy with a Dead Goldfinch

Vasily Tropinin, 1829

oil, canvasRomanticismportraitboyportraitbirdtableclothingbirdcage
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones. It also provides practice in depicting fabric and still life elements.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Create a light sketch outlining the boy's pose, the bird, and the birdcage.

  2. step 02

    Block in the main areas of color, focusing on the background, skin tones, clothing, and table.

  3. step 03

    Begin refining the skin tones, paying attention to highlights and shadows to create form.

  4. step 04

    Develop the details of the boy's face, including the eyes, nose, and mouth.

  5. step 05

    Work on the clothing, capturing the folds and textures of the fabric.

  6. step 06

    Paint the bird, focusing on its delicate features and coloration.

  7. step 07

    Add details to the birdcage, paying attention to its structure and form.

  8. step 08

    Refine the overall painting, adjusting values and adding final details.

color palette

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

secondary · cadmium red light · yellow ochre

Achieve skin tones by mixing titanium white, yellow ochre, cadmium red light, and a touch of burnt sienna. Darken shadows with raw umber and ivory black. Use ivory black and titanium white to create the dark background.

techniques

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

common pitfalls

  • →Overblending the skin tones, resulting in a flat, lifeless appearance.
  • →Failing to capture the subtle variations in color and value.
  • →Getting the proportions of the face incorrect.
  • →Ignoring the importance of light and shadow in creating form.

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·oil paints (ivory black, raw umber, burnt sienna, titanium white, cadmium red light, yellow ochre)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish

Use high-quality oil paints for best results. Allow each layer to dry before applying the next.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

Romantic Landscape

Romantic Landscape

Karl Lessing

Self-portrait with his brother Francesco

Self-portrait with his brother Francesco

Giuseppe Tominz

Oenone Refuse de Secourir Pâris au Siège de Troie

Oenone Refuse de Secourir Pâris au Siège de Troie

Léon Cogniet

Duke of Alba

Duke of Alba

Francisco Goya

Blick Aus Dem Wald Ins Tal

Blick Aus Dem Wald Ins Tal

Andreas Achenbach

Young Girl Fixing Her Hair

Young Girl Fixing Her Hair

Sophie Gengembre Anderson

The Plough Inn

The Plough Inn

William Shayer

Hudson River Landscape

Hudson River Landscape

Johann Hermann Carmiencke