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home·artworks·Edwina Mountbatten, Countess Mountbatten of Burma
Edwina Mountbatten, Countess Mountbatten of Burma by Philip de Laszlo

plate no. 7178

Edwina Mountbatten, Countess Mountbatten of Burma

Philip de Laszlo, 1924

oilImpressionismportraitportraitfigurewomandresshairface
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering soft, diffused lighting. It also provides practice in blending and layering colors to create subtle tonal variations.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic proportions and pose of the figure, paying attention to the placement of the head, shoulders, and hands.

  2. step 02

    Establish the overall warm background tone with a thin wash of color.

  3. step 03

    Block in the main areas of light and shadow on the face and body using a limited palette of earth tones.

  4. step 04

    Refine the facial features, focusing on capturing the likeness and expression of the subject.

  5. step 05

    Develop the drapery and clothing, paying attention to the folds and textures.

  6. step 06

    Add subtle color variations and highlights to create depth and dimension.

  7. step 07

    Soften edges and blend colors to create a sense of atmosphere and unity.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

primary · burnt umber · raw sienna · titanium white · yellow ochre

secondary · alizarin crimson · ultramarine blue · viridian

Achieve skin tones by mixing burnt umber, raw sienna, and titanium white, with small amounts of alizarin crimson for warmth and ultramarine blue for cool shadows. Use yellow ochre to brighten highlights.

techniques

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

common pitfalls

  • →Overworking the details and losing the overall impressionistic feel.
  • →Creating harsh lines and edges instead of soft transitions.
  • →Failing to capture the likeness of the subject.
  • →Using too much color and creating a muddy effect.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·#2 round brush
  • ·#6 filbert brush
  • ·palette
  • ·linseed oil
  • ·turpentine

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a high-quality canvas primed with gesso for best results. Consider using a medium to thin the oil paints and improve flow.

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related guides

oil painting for beginners →color theory for painters →how to learn by studying the masters →
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