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home·artworks·Kopf Des Kreuztragenden Mannes (das Kreuz)
Kopf Des Kreuztragenden Mannes (das Kreuz) by Albin Egger-Lienz

plate no. 7069

Kopf Des Kreuztragenden Mannes (das Kreuz)

Albin Egger-Lienz, 1900

oilRealismportraitportraitmanfacehatclothingfigure
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing likeness and using a limited palette to create depth and form. It will also help in understanding how to use visible brushstrokes to add texture and character.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the head, hat, and shoulders.

  2. step 02

    Establish the darkest areas of the painting with a thin wash of dark brown or black.

  3. step 03

    Block in the mid-tones of the face using a mix of browns, reds, and a touch of yellow.

  4. step 04

    Add highlights to the face, focusing on the forehead, nose, and cheekbones.

  5. step 05

    Define the features of the face, such as the eyes, nose, and mouth, with careful attention to detail.

  6. step 06

    Paint the hat and clothing using a range of dark tones, paying attention to the folds and shadows.

  7. step 07

    Refine the background with subtle variations in color and tone.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

primary · burnt umber · raw sienna · titanium white · cadmium red

secondary · ivory black · yellow ochre

Mix burnt umber and ivory black for the darkest shadows. Use raw sienna, cadmium red, and white to create the skin tones, adjusting the ratios for highlights and shadows. Add a touch of yellow ochre to warm up the skin tones.

techniques

  • ·dry brush texture
  • ·scumbling
  • ·chiaroscuro
  • ·layering

common pitfalls

  • →Overworking the details in the face too early.
  • →Failing to establish a strong value structure.
  • →Using too much color and losing the tonal harmony.
  • →Ignoring the subtle variations in color and tone in the background.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·cadmium red oil paint
  • ·ivory black oil paint
  • ·#4 round brush
  • ·#6 flat brush

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine

Use a medium-grit canvas to allow for better paint adhesion and texture. Consider using a limited palette to simplify the color mixing process.

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