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home·artworks·Louis Antoine de Saint Just
Louis Antoine de Saint Just by Pierre-Paul Prud'hon

plate no. 8112

Louis Antoine de Saint Just

Pierre-Paul Prud'hon, 1793

oilRomanticismportraitportraitfiguremanclothinghairface
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions, subtle skin tone variations, and rendering of fabric folds. It will also improve their understanding of light and shadow to create form.

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

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

  2. step 02

    Establish the background color with a thin wash of burnt umber and raw sienna.

  3. step 03

    Block in the main areas of light and shadow on the face, using a limited palette of white, ochre, and a touch of red.

  4. step 04

    Develop the hair with layers of dark brown and lighter highlights, paying attention to the direction of the curls.

  5. step 05

    Paint the white cravat, focusing on the subtle gradations of light and shadow to create a sense of volume.

  6. step 06

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

  7. step 07

    Refine the clothing, adding details such as the collar and buttons.

  8. step 08

    Add final highlights and shadows to enhance the overall sense of depth and realism.

color palette

primary · titanium white · burnt umber · yellow ochre

secondary · cadmium red light · ivory black

Skin tones are achieved by mixing white, ochre, and a touch of red. Darker areas use burnt umber and black. The white cravat requires subtle mixing of white with small amounts of ochre and umber for shadows.

techniques

  • ·portraiture
  • ·blending
  • ·glazing
  • ·value studies
  • ·chiaroscuro

common pitfalls

  • →Getting the proportions of the face wrong.
  • →Overworking the details too early in the process.
  • →Making the skin tones too flat or lifeless.
  • →Not paying enough attention to the subtle gradations of light and shadow.

materials

surface · stretched canvas

required

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

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

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

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