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home·artworks·Head of an old man
Head of an old man by Pellizza da Volpedo

plate no. 4611

Head of an old man

Pellizza da Volpedo, 1890

oil, canvasRealismportraitportraitmanfigureold manclothing
some experience helpful

Recreating this painting will help students understand how to build form with visible brushstrokes and how to mix realistic skin tones using a limited palette. It also provides practice in capturing likeness and expression.

technical profile

palette complexity
3
brushwork visibility
4
value contrast
4
compositional simplicity
5

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Create a light sketch outlining the basic shapes and proportions of the head and shoulders.

  2. step 02

    Establish the background color with a thin wash of burnt umber and raw sienna.

  3. step 03

    Block in the main areas of light and shadow on the face using a mid-tone mixture of raw sienna, white, and a touch of red.

  4. step 04

    Refine the skin tones by adding highlights with white and yellow ochre, and shadows with burnt umber and alizarin crimson.

  5. step 05

    Pay close attention to the planes of the face and use directional brushstrokes to define form.

  6. step 06

    Paint the dark clothing with a mixture of black and burnt umber, using thicker paint and bolder strokes.

  7. step 07

    Add details to the collar and hair, using small brushes and careful observation.

  8. step 08

    Glaze the painting with thin layers of color to unify the tones and add depth.

color palette

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

secondary · alizarin crimson · yellow ochre

Skin tones are achieved by mixing raw sienna, burnt umber, white, and small amounts of alizarin crimson for warmth. Darker areas use more burnt umber and crimson, while highlights use more white and yellow ochre.

techniques

  • ·Blocking in
  • ·Dry brush
  • ·Scumbling
  • ·Glazing
  • ·Limited palette color mixing

common pitfalls

  • →Over-blending the skin tones, resulting in a flat appearance.
  • →Failing to accurately capture the proportions and likeness of the subject.
  • →Using too much black, making the shadows appear muddy.
  • →Ignoring the subtle color variations in the skin.

materials

surface · stretched canvas

required

  • ·Stretched canvas (12x16 inches)
  • ·Oil paints (burnt umber, raw sienna, titanium white, ivory black, alizarin crimson, yellow ochre)
  • ·Round brushes (#2, #4, #6)
  • ·Flat brushes (#6, #8)
  • ·Palette
  • ·Linseed oil
  • ·Odorless mineral spirits
  • ·Rags

optional

  • ·Palette knife
  • ·Medium (e.g., Liquin)
  • ·Easel

Use a canvas with a smooth texture for easier blending. Consider using a medium to speed up drying time.

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