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home·artworks·George Clarke
George Clarke by Samuel Morse

plate no. 3440

George Clarke

Samuel Morse, 1829

oil, canvasRomanticismportraitportraitfigurebookscurtainlandscapetable
some experience helpful

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

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on proportions and placement of the figure and key elements.

  2. step 02

    Establish the background landscape with broad washes of color, paying attention to atmospheric perspective.

  3. step 03

    Block in the main shapes of the figure, including the clothing and facial features.

  4. step 04

    Begin refining the skin tones, using layering and blending techniques to create realistic shading.

  5. step 05

    Add details to the clothing, books, and other elements, focusing on texture and form.

  6. step 06

    Work on the facial features, paying close attention to the eyes, nose, and mouth to capture the likeness.

  7. step 07

    Refine the highlights and shadows throughout the painting to create depth and dimension.

  8. step 08

    Add final details and adjustments as needed to complete the painting.

color palette

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

secondary · cadmium red · ultramarine blue · yellow ochre

Mix various shades of brown and gray by combining burnt umber, ivory black, and white. Achieve skin tones by mixing raw sienna, cadmium red, and white, adjusting the ratios for different areas of the face. Create the curtain color by mixing cadmium red with burnt umber and a touch of white.

techniques

  • ·portraiture
  • ·glazing
  • ·scumbling
  • ·blending
  • ·atmospheric perspective

common pitfalls

  • →Getting the proportions of the figure wrong.
  • →Overworking the skin tones, resulting in a muddy or unnatural appearance.
  • →Failing to capture the likeness of the subject.
  • →Ignoring the importance of atmospheric perspective in the background.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·cadmium red oil paint
  • ·round brushes
  • ·flat brushes

optional

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

Use high-quality oil paints for best results. Consider using a medium to improve the flow and blending of the paints.

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