apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·La Infanta Maria Teresa
La Infanta Maria Teresa by Juan Carreño de Miranda

plate no. 3302

La Infanta Maria Teresa

Juan Carreño de Miranda

oilBaroqueportraitportraitfiguredresscurtainjewelry
experienced study

Recreating this painting will help students develop skills in portraiture, particularly in rendering fabric textures and details, as well as understanding color relationships in skin tones and drapery.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the overall composition, focusing on proportions and placement of the figure.

  2. step 02

    Block in the background with broad strokes of dark browns and reds.

  3. step 03

    Establish the basic shapes and values of the figure's face and hands.

  4. step 04

    Begin layering colors to define the form and create subtle gradations in skin tone.

  5. step 05

    Outline the dress and begin blocking in the major color areas.

  6. step 06

    Add details to the dress, focusing on the patterns and textures of the fabric.

  7. step 07

    Refine the details of the face, hands, and jewelry.

  8. step 08

    Add final highlights and shadows to create depth and dimension.

color palette

primary · titanium white · burnt sienna · cadmium red light

secondary · yellow ochre · ivory black · ultramarine blue

Mix various shades of pink by combining titanium white with small amounts of cadmium red light and burnt sienna. Achieve skin tones by mixing titanium white, yellow ochre, burnt sienna, and a touch of cadmium red light. Use ultramarine blue and ivory black to create cool shadows.

techniques

  • ·portraiture
  • ·fabric rendering
  • ·glazing
  • ·scumbling
  • ·color mixing

common pitfalls

  • →Getting the proportions of the figure wrong.
  • →Overworking the details too early in the process.
  • →Creating muddy colors by overmixing.
  • →Failing to capture the likeness of the subject.

materials

surface · stretched canvas

required

  • ·stretched canvas (16x20 inches)
  • ·oil paints (titanium white, burnt sienna, cadmium red light, yellow ochre, ivory black, ultramarine blue)
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife

optional

  • ·retouch varnish
  • ·medium gloss
  • ·easel

Use high-quality oil paints for best results. Allow each layer to dry before applying the next.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

Girl with a Straw Hat

Girl with a Straw Hat

Judith Leyster

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Abraham Storck

Bathsheba Bathing

Bathsheba Bathing

Francesco Solimena

Repentant Peter

Repentant Peter

Guido Reni

Itinerant Musicians

Itinerant Musicians

Jacob Ochtervelt

Marie Christine

Marie Christine

Marcello Bacciarelli

Santa Cecilia E Due Angeli

Santa Cecilia E Due Angeli

Giulio Cesare Procaccini

Scene from the Life of Saint Benedict

Scene from the Life of Saint Benedict

Philippe de Champaigne