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home·artworks·Henrietta Shelley (1731–1809), Countess of Onslow
Henrietta Shelley (1731–1809), Countess of Onslow by John Russell

plate no. 6389

Henrietta Shelley (1731–1809), Countess of Onslow

John Russell, 1769

oilRococoportraitportraitfiguredresslacehairjewelry
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering fabric textures. It also provides practice in subtle color mixing and blending to create realistic skin tones and drapery.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the figure and background.

  2. step 02

    Establish the overall value structure with a thin underpainting using burnt umber or a similar earth tone.

  3. step 03

    Block in the main color areas: skin, hair, dress, and background.

  4. step 04

    Begin refining the skin tones, paying attention to subtle shifts in color and value.

  5. step 05

    Develop the details of the dress, focusing on the folds, ruffles, and lace.

  6. step 06

    Render the hair, creating volume and texture with highlights and shadows.

  7. step 07

    Add details such as jewelry and refine the background.

  8. step 08

    Apply final glazes to unify the painting and enhance the colors.

color palette

primary · titanium white · ivory black · ultramarine blue · yellow ochre

secondary · cadmium red · burnt umber · raw sienna

Skin tones can be achieved by mixing titanium white, yellow ochre, and a touch of cadmium red. The dress color requires mixing ultramarine blue, ivory black, and a touch of yellow ochre. Use burnt umber and raw sienna for shadows and glazing.

techniques

  • ·portraiture
  • ·glazing
  • ·blending
  • ·value studies
  • ·rendering fabric

common pitfalls

  • →Overmixing colors, resulting in muddy tones.
  • →Ignoring the underlying value structure.
  • →Getting the proportions of the figure wrong.
  • →Oversimplifying the skin tones.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·ultramarine blue oil paint
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·round brushes (various sizes)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·raw sienna oil paint
  • ·cadmium red oil paint

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

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