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home·artworks·Girl with Cherries (also attributed to Giovanni Ambrogio de Predis)
Girl with Cherries (also attributed to Giovanni Ambrogio de Predis) by Giovanni Antonio Boltraffio

plate no. 2972

Girl with Cherries (also attributed to Giovanni Ambrogio de Predis)

Giovanni Antonio Boltraffio, 1495

oilHigh Renaissanceportraitportraitfigurehairdresscherrieshands
experienced study

Recreating this painting will help students develop skills in portraiture, including accurate proportions and subtle skin tone variations, as well as rendering realistic fabric and hair textures.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Sketch the basic proportions of the figure, focusing on the head, shoulders, and hands.

  2. step 02

    Establish the background with a dark, even tone.

  3. step 03

    Block in the main shapes of the face, hair, and clothing with thin washes of color.

  4. step 04

    Begin layering and blending colors to create smooth transitions in the skin tones.

  5. step 05

    Develop the details of the hair, using small brushstrokes to create texture and volume.

  6. step 06

    Refine the clothing, paying attention to the folds and highlights.

  7. step 07

    Add the details of the cherries and leaves, focusing on their shapes and colors.

  8. step 08

    Add final highlights and shadows to enhance the depth and realism of the painting.

color palette

primary · ivory black · burnt umber · yellow ochre · cadmium red light

secondary · ultramarine blue · sap green · titanium white

Mix skin tones using yellow ochre, cadmium red light, and titanium white, with small amounts of burnt umber and ivory black for shadows. Achieve the dress colors by mixing yellow ochre and burnt umber with touches of sap green and ultramarine blue.

techniques

  • ·portraiture
  • ·glazing
  • ·blending
  • ·chiaroscuro
  • ·rendering fabric

common pitfalls

  • →Incorrect proportions of the face and body.
  • →Overblending, resulting in a flat, lifeless appearance.
  • →Inaccurate color mixing, leading to unnatural skin tones.
  • →Neglecting the subtle variations in light and shadow.
  • →Getting lost in the details too early, before establishing the overall composition and values.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·burnt umber oil paint
  • ·yellow ochre oil paint
  • ·cadmium red light oil paint
  • ·titanium white oil paint
  • ·#2 round brush
  • ·#4 filbert brush

optional

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

Use high-quality oil paints for best results. Consider using a toned canvas to help establish the overall value range.

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