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home·artworks·Hendrickje Stoffels in a White Cloak (copy after Rembrandt)
Hendrickje Stoffels in a White Cloak (copy after Rembrandt) by James Barry

plate no. 4058

Hendrickje Stoffels in a White Cloak (copy after Rembrandt)

James Barry

oilBaroqueportraitportraitfigurecloakjewelrydark background
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing likeness and creating depth through subtle value changes. It also provides practice in rendering fabric and jewelry.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Create a light sketch of the figure's pose and proportions on the canvas.

  2. step 02

    Block in the main areas of color: background, skin tones, cloak, and hair.

  3. step 03

    Establish the darkest shadows and lightest highlights to define the form.

  4. step 04

    Begin blending the transitions between light and shadow, focusing on smooth gradations.

  5. step 05

    Add details to the face, paying attention to the subtle nuances of light and shadow.

  6. step 06

    Refine the folds and drapery of the cloak, capturing the texture and weight of the fabric.

  7. step 07

    Paint the jewelry, adding highlights to create a sense of sparkle.

  8. step 08

    Make final adjustments to the values and details to achieve a cohesive and realistic representation.

color palette

primary · raw umber · titanium white · yellow ochre

secondary · burnt sienna · ivory black · cadmium yellow

Achieve skin tones by mixing white, yellow ochre, and a touch of burnt sienna. Darken shadows with raw umber and a hint of black. Use white and yellow to create highlights.

techniques

  • ·underpainting
  • ·glazing
  • ·blending
  • ·chiaroscuro
  • ·scumbling

common pitfalls

  • →Over-blending, resulting in a flat and lifeless appearance.
  • →Incorrect proportions in the initial sketch.
  • →Failing to capture the subtle value changes in the skin tones.
  • →Ignoring the importance of reflected light.

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·ivory black oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use high-quality oil paints for best results. Consider using a toned canvas to simplify the underpainting process.

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related guides

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