plate no. 6540

Lycinna

John William Godward, 1918

oil, canvasNeoclassicismportraitportraitwomandraperymarbleclassical

some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in rendering skin tones and fabric folds. It also provides practice in creating a sense of depth and form through subtle value changes.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 20 hrs

approach — 8 steps

step 01
Sketch the basic composition, focusing on the proportions of the face and the placement of the drapery.
step 02
Establish the main light and shadow areas on the face and drapery using a thin wash of burnt umber.
step 03
Begin layering in skin tones, starting with the mid-tones and gradually adding highlights and shadows.
step 04
Mix the colors for the drapery and apply them in layers, paying attention to the direction of the folds.
step 05
Refine the details of the face, such as the eyes, nose, and mouth.
step 06
Add highlights and shadows to the drapery to create a sense of depth and volume.
step 07
Paint the background, focusing on the marble texture and color variations.
step 08
Add final details and adjust values as needed.

color palette

primary · titanium white · yellow ochre · burnt umber · cadmium red

secondary · ultramarine blue · raw sienna · alizarin crimson

Skin tones are achieved by mixing white, yellow ochre, burnt umber, and a touch of red. The drapery color is a mix of red, umber, and white, with variations achieved by adding small amounts of blue or yellow.

techniques