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home·artworks·Cupid as a Link Boy
Cupid as a Link Boy by Joshua Reynolds

plate no. 9192

Cupid as a Link Boy

Joshua Reynolds, 1773

oil, canvasRococomythological paintingfigurechildwingstorchbuildingssky
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and creating realistic skin tones, as well as understanding atmospheric perspective in the background.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure and the main elements of the background.

  2. step 02

    Block in the main shapes with thin washes of color, establishing the overall value structure.

  3. step 03

    Start building up the skin tones, using layers of color and subtle blending.

  4. step 04

    Define the features of the face, paying attention to the light and shadow.

  5. step 05

    Work on the clothing, adding details and texture.

  6. step 06

    Paint the wings and torch, focusing on their shape and form.

  7. step 07

    Develop the background, using atmospheric perspective to create depth.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

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

secondary · cadmium yellow · alizarin crimson · ultramarine blue

Achieve skin tones by mixing burnt umber, raw sienna, titanium white, and small amounts of alizarin crimson and cadmium yellow. Use ultramarine blue and ivory black to create the dark tones in the wings and torch.

techniques

  • ·portraiture
  • ·glazing
  • ·scumbling
  • ·atmospheric perspective
  • ·chiaroscuro

common pitfalls

  • →Overblending the skin tones, resulting in a flat appearance.
  • →Failing to create a sense of depth in the background.
  • →Getting the proportions of the figure wrong.
  • →Using too much detail in the background, distracting from the main subject.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·#4 round brush
  • ·#6 flat brush
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·turpentine

Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.

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