George Macartney, 1st Earl Macartney; Sir George Leonard Staunton, 1st Bt

Two dignified male figures occupy the composition: a formally dressed seated figure on the left wearing a black coat with a brilliant red sash, white lace cravat, and ornate decorations; a standing figure on the right in simpler pale tan clothing. The light source comes from the upper left, creating warm luminosity on faces, hands, and white linens while the background recedes into near-darkness. The eye enters at the seated figure's face—the most solidly lit form—then travels across to the standing companion. Foreground documents on the table anchor the composition and suggest diplomatic business.

Nearly black background (warmed slightly toward brown in lower regions) establishes maximum darkness and recedes completely. The figures emerge in middle to light values: warm peachy flesh tones, pale cream-colored linens, and a brilliant warm red sash create distinct value zones. Squint to see three primary groupings: dark background, mid-tone flesh and clothing, and light accents in white cravats and cuffs. The value range is moderate—not extreme chiaroscuro—but precisely controlled to model form without harsh jumps.

• #120c0c

  ivory black with touch of umber

  deep background throughout, darkest shadows in folds

• #815b4d

  yellow ochre with cadmium red light and titanium white

  warm mid-tone in faces, hands, and lower background

• #231816

  ivory black straight or with burnt umber

  the black formal coat, dark hair shadows, deepest folds

• #bda695

  titanium white with yellow ochre and touch of cadmium red

  light flesh tones, white linen highlights, cream-colored garment

• cadmium red light

  cadmium red light

  the red diplomatic sash worn across body

• warm yellow-brown

  yellow ochre with touch of ivory black

  gold-trimmed chair frame visible at left

Edges are soft and atmospheric where illuminated forms meet the dark background—no hard lines separate the figures from space. Faces and hands show refined, subtle modeling with gentle transitions rather than visible brushstrokes. White linens are rendered with crisper edges and more visible directional strokes that suggest fabric drape; the lace textures are implied through white highlights rather than explicitly painted. The red sash shows clear brushwork following the fabric's geometry. Overall handling is controlled and restrained—polish evident, but not fussy.

1. 01

   Establish dark ground and background wash

   Cover the entire canvas with a thin wash of nearly black (ivory black with slight umber warmth). Leave no white showing. The background should feel unified and recessive, slightly warmer toward the lower edge where it meets the table area. This darkness is your foundation—everything luminous will read against it.

2. 02

   Block in proportions and positions

   Using diluted ochre or warm grey, sketch the two figures' basic structure: the seated figure on the left with head, shoulders, torso, and arm positions; standing figure on the right. Pay careful attention to the head-to-body ratio (roughly 1:7-8) and the angle of the seated figure's spine as he leans slightly toward the documents. Mark the table edge and foreground objects lightly.

3. 03

   Underpainting flesh and establish light direction

   Block in the faces and visible flesh (hands, neck) using a warm ochre-based tone. Show where light falls strongest—the left sides of both faces, the seated figure's left hand, the standing figure's right hand on the documents. Use a slightly warmer, more saturated mix in shadow areas of the faces (under cheekbones, beside nose) to establish modeling without yet adding highlights.

4. 04

   Model faces and add flesh tone refinement

   Begin layering lighter flesh tones (white + ochre + touch of red) onto the lit areas of the faces. Keep shadows relatively transparent and warm-toned. Work the standing figure's face more carefully—the three-quarter view angle requires precise proportion in the features. Add warmth to the seated figure's face where light wraps around from the left. Keep edges soft and transitions subtle; the modeling happens through value and color shifts, not outlines.

5. 05

   Establish white linens and formal coat

   Paint the white cravats, cuffs, and shirt front using cream white (white + yellow ochre + minimal red). Show how light defines their forms—the seated figure's cravat catches strong light, the standing figure's white shirt is more recessive. Now block in the black formal coats using deep black mixed with subtle warmth. The seated figure's coat is more prominently lit; the standing figure's jacket blends more with the background. Keep the black rich but not dead.

6. 06

   Paint the red diplomatic sash

   Using cadmium red light (not too bright—it should harmonize with the overall warm tonality), paint the red sash diagonally across the seated figure's torso. Show the fabric's fold and volume with slightly darker red-browns in shadow areas. The sash should read as a distinct warm mid-tone that complements rather than screams—it anchors the seated figure's dignity without overwhelming the composition.

7. 07

   Add documents, hands, hair, and decorative details

   Paint the pale documents on the table with cream white and soft shadows, keeping them slightly out of focus compared to the faces. Refine the hands holding the documents—show the warmth and subtle modeling in the seated figure's left hand especially. Render hair as soft grey-brown masses with warmer highlights where light touches them. Add small but important details: the seated figure's decorative medal/star on the chest, buttons, and any lace detail on cravats using white highlights. Keep details subordinate to the overall form.

8. 08

   Final refinement and atmospheric unity

   Step back and assess overall value relationships. Ensure the background remains recessive and unified—add subtle warm glazes if needed to harmonize it with the figures. Soften any harsh edges between figures and background. Strengthen the highlights on the brightest white areas (the cravats, the left cheek of the seated figure). Adjust the seated figure's gold chair frame to read as warm metallic accent. The painting should feel unified in its warm, dignified tonality—no colors jarring, all forms modeling through light rather than outline.

• Making the background uneven or too warm—it must remain very dark and relatively uniform so the figures can advance. Resist the urge to add too much color variation.
• Oversaturating or incorrectly mixing the flesh tones—they need to be warm but not orange or ruddy; layer transparent warm darks under opaque lighter tones rather than mixing one muddy puddle.
• Misjudging the red sash value—it should be a distinct warm accent without dominating the composition. Too bright and it screams; too dull and it reads as brown.
• Making the white linens too pure and chalky—they need warm undertones from reflected light and cooler shadows where they fold. Use cream white mixed with ochre, not pure white.
• Rushing the face modeling—the subtle value transitions and color shifts in the faces create likeness and form. Work slowly, use half-values, and avoid strong contour lines.
• Getting the proportions wrong in the standing figure's three-quarter pose—pay careful attention to how the head tilts, where the features sit, and the relationship of the neck to shoulders.

beginner friendliness

value contrast

palette complexity

compositional simplicity

brushwork visibility