apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Johann Joachim Winckelmann
Johann Joachim Winckelmann by Anton Raphael Mengs

plate no. 2991

Johann Joachim Winckelmann

Anton Raphael Mengs, 1762

oil, canvasNeoclassicismportraitportraitfigurebookclothingmaleface
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions and capturing likeness, as well as practice blending techniques for smooth skin tones and drapery.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Block in the main areas of color: background, skin tones, clothing, and book.

  3. step 03

    Begin refining the skin tones, focusing on subtle value changes to create form.

  4. step 04

    Work on the drapery, paying attention to the folds and shadows to create a sense of volume.

  5. step 05

    Add details to the face, including the eyes, nose, and mouth, to capture the likeness.

  6. step 06

    Refine the background and other details, such as the book and clothing.

  7. step 07

    Add highlights and shadows to enhance the overall depth and dimension.

  8. step 08

    Make final adjustments to the colors and values to achieve a cohesive and realistic painting.

color palette

primary · titanium white · raw umber · burnt sienna · yellow ochre

secondary · ultramarine blue · cadmium red · viridian

Mix skin tones using white, yellow ochre, burnt sienna, and a touch of red. Create the brown drapery by mixing burnt sienna, raw umber, and a touch of blue for shadows.

techniques

  • ·blending
  • ·glazing
  • ·scumbling
  • ·portraiture
  • ·chiaroscuro

common pitfalls

  • →Inaccurate proportions in the initial sketch can lead to a distorted likeness.
  • →Overblending can result in a flat and lifeless appearance.
  • →Ignoring subtle value changes can make the skin tones look unnatural.
  • →Getting the color of the background wrong can throw off the whole painting.

materials

surface · stretched canvas

required

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

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Marie-Gabrielle Capet

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

Giovanni Battista Piranesi

Portrait of Louis d'Orleans

Portrait of Louis d'Orleans

Franz Xaver Winterhalter

Rooftops in the shadows

Rooftops in the shadows

Pierre-Henri de Valenciennes

The Schmadribach Falls

The Schmadribach Falls

Joseph Anton Koch

A Scene from 'As You Like It' by William Shakespeare

A Scene from 'As You Like It' by William Shakespeare

William Hamilton

Portrait of Klementyna Ostrowska Née Sanguszko

Portrait of Klementyna Ostrowska Née Sanguszko

Vincenzo Camuccini

Self-Portrait

Self-Portrait

Anton Raphael Mengs