apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Cabeza de Goya
Cabeza de Goya by Mariano Benlliure

plate no. 3810

Cabeza de Goya

Mariano Benlliure

bronzeNeoclassicismportraitportraitbustsculpturefigurehairclothing
some experience helpful

Recreating this painting will help students develop skills in rendering form with value and capturing texture with brushwork. It also provides practice in observing and translating three-dimensional shapes onto a two-dimensional surface.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the overall proportions and pose of the bust.

  2. step 02

    Block in the major shapes and forms using a mid-tone value.

  3. step 03

    Establish the darkest shadows and lightest highlights to create a sense of depth.

  4. step 04

    Gradually build up the details of the face, hair, and clothing, paying attention to the subtle variations in value.

  5. step 05

    Use a variety of brushstrokes to create texture and interest.

  6. step 06

    Refine the edges and contours of the bust to create a sense of realism.

  7. step 07

    Add final highlights and shadows to enhance the three-dimensionality of the sculpture.

  8. step 08

    Step back and evaluate the overall effect, making any necessary adjustments.

color palette

primary · raw umber · burnt umber · ivory black

secondary · titanium white · yellow ochre

Mix raw umber and ivory black for the darkest shadows. Add titanium white to raw umber and burnt umber for highlights. Use yellow ochre sparingly to warm up certain areas.

techniques

  • ·value study
  • ·chiaroscuro
  • ·dry brushing
  • ·scumbling
  • ·blending

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using too much white in the highlights, making them appear chalky.
  • →Ignoring the subtle variations in value and texture.

materials

surface · stretched canvas

required

  • ·Stretched canvas (16x20 inches)
  • ·Raw umber oil paint
  • ·Burnt umber oil paint
  • ·Ivory black oil paint
  • ·Titanium white oil paint
  • ·Round brushes (various sizes)
  • ·Flat brushes (various sizes)
  • ·Odorless mineral spirits

optional

  • ·Palette knife
  • ·Linseed oil
  • ·Medium gloss

Use a canvas with a medium texture to better capture the texture of the bronze.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Marie-Gabrielle Capet

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

Giovanni Battista Piranesi

Portrait of Louis d'Orleans

Portrait of Louis d'Orleans

Franz Xaver Winterhalter

Rooftops in the shadows

Rooftops in the shadows

Pierre-Henri de Valenciennes

The Schmadribach Falls

The Schmadribach Falls

Joseph Anton Koch

A Scene from 'As You Like It' by William Shakespeare

A Scene from 'As You Like It' by William Shakespeare

William Hamilton

Portrait of Klementyna Ostrowska Née Sanguszko

Portrait of Klementyna Ostrowska Née Sanguszko

Vincenzo Camuccini

Self-Portrait

Self-Portrait

Anton Raphael Mengs