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home·artworks·Comtesse Tessin
Comtesse Tessin by Jean-Marc Nattier

plate no. 2482

Comtesse Tessin

Jean-Marc Nattier, 1741

oilRococoportraitportraitwomanclothingfurribbonheadscarf
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions and rendering of skin tones, as well as practice blending and layering techniques to create soft, realistic effects.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Create a light sketch of the composition, paying attention to proportions and placement of the figure within the oval frame.

  2. step 02

    Block in the main areas of color: skin tones, background, red cloak, fur, and black headscarf.

  3. step 03

    Begin layering and blending colors to create smooth transitions in the skin tones, focusing on highlights and shadows.

  4. step 04

    Develop the details of the face, including the eyes, nose, and mouth, using small brushes and subtle color variations.

  5. step 05

    Add details to the clothing, including the folds and textures of the red cloak and the fur trim.

  6. step 06

    Paint the black headscarf, paying attention to the way it drapes and folds around the head.

  7. step 07

    Refine the background and the oval frame, adding subtle variations in color and tone.

  8. step 08

    Add final highlights and details to the entire painting to create a sense of depth and realism.

color palette

primary · titanium white · cadmium red · raw umber · ivory black

secondary · yellow ochre · burnt sienna · ultramarine blue

Achieve skin tones by mixing titanium white, cadmium red, yellow ochre, and a touch of raw umber. Use burnt sienna and raw umber to create the dark tones of the fur. Mix ivory black and raw umber for the headscarf.

techniques

  • ·blending
  • ·layering
  • ·glazing
  • ·scumbling
  • ·portraiture

common pitfalls

  • →incorrect proportions
  • →muddy skin tones
  • →overblending
  • →lack of contrast
  • →inaccurate color mixing

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·#2 round brush
  • ·#4 filbert brush
  • ·#6 flat brush
  • ·titanium white oil paint
  • ·cadmium red oil paint
  • ·raw umber oil paint
  • ·ivory black oil paint

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use high-quality oil paints for best results. Consider using a medium to improve blending and drying time.

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