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home·artworks·Etude Préparatoire À "l'entrée D'urbain Ii À Toulouse"
Etude Préparatoire À "l'entrée D'urbain Ii À Toulouse" by Benjamin Constant

plate no. 4622

Etude Préparatoire À "l'entrée D'urbain Ii À Toulouse"

Benjamin Constant

oilRomanticismsketch and studyportraitfigurehatreligious figurerobe
some experience helpful

Recreating this painting will help students develop skills in limited palette painting, focusing on value relationships to create form, and using expressive brushstrokes to add texture and interest.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the figure and hat using a light pencil or thin wash of burnt umber.

  2. step 02

    Establish the overall warm tone of the background with a thin layer of diluted burnt sienna.

  3. step 03

    Block in the main areas of light and shadow on the face, hat, and robe using variations of burnt umber and white.

  4. step 04

    Refine the facial features, paying attention to the subtle shifts in value and the planes of the face.

  5. step 05

    Add highlights to the hat and robe to create a sense of depth and dimension.

  6. step 06

    Use visible brushstrokes to create texture and movement in the background and clothing.

  7. step 07

    Soften edges where needed to blend values and create a sense of atmosphere.

  8. step 08

    Add final details and adjust values as needed to achieve the desired effect.

color palette

primary · burnt umber · titanium white

secondary · raw sienna · yellow ochre

Mix burnt umber with white to create a range of warm grays and browns. Use raw sienna and yellow ochre sparingly to add subtle variations in color temperature.

techniques

  • ·underpainting
  • ·value study
  • ·limited palette
  • ·expressive brushwork
  • ·scumbling

common pitfalls

  • →Overblending and losing the expressive brushstrokes.
  • →Failing to establish a strong value structure.
  • →Getting the proportions of the face wrong.
  • →Using too much color and losing the monochromatic feel.

materials

surface · stretched canvas

required

  • ·Stretched canvas
  • ·Burnt umber oil paint
  • ·Titanium white oil paint
  • ·Raw sienna oil paint
  • ·Yellow ochre oil paint
  • ·Odorless mineral spirits
  • ·Linseed oil
  • ·Assorted brushes (round and flat)

optional

  • ·Palette knife
  • ·Medium gloss
  • ·Easel

A toned canvas with a thin wash of burnt umber can be helpful for establishing the overall warm tone of the painting.

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