apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Männerkopf
Männerkopf by Albin Egger-Lienz

plate no. 1795

Männerkopf

Albin Egger-Lienz, 1899

oilRealismportraitportraitmanheadbeardprofileclothing
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 also provides practice in blending and layering paint to achieve subtle tonal variations.

technical profile

palette complexity
3
brushwork visibility
4
value contrast
4
compositional simplicity
5

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Sketch the basic oval shape and the placement of the head and shoulders.

  2. step 02

    Lightly sketch the main features of the face (nose, eyes, mouth, ear) and the outline of the beard.

  3. step 03

    Apply a thin wash of burnt umber and yellow ochre to establish the background tone.

  4. step 04

    Block in the darkest areas of the painting, such as the coat and shadows on the face, using a mix of burnt umber and black.

  5. step 05

    Begin layering lighter tones on the face, mixing white with yellow ochre and a touch of red for the skin tones.

  6. step 06

    Pay attention to the subtle variations in color and value to create the form of the face.

  7. step 07

    Add details to the beard and hair, using a dry brush technique to create texture.

  8. step 08

    Refine the details and add highlights to complete the painting.

color palette

primary · burnt umber · yellow ochre · titanium white

secondary · ivory black · cadmium red light

Mix burnt umber and black for dark shadows. Use white, yellow ochre, and a touch of red for skin tones. Vary the proportions to create subtle tonal changes.

techniques

  • ·dry brush texture
  • ·blending
  • ·layering
  • ·scumbling
  • ·limited palette

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using too much paint and losing the subtle tonal variations.
  • →Not paying close enough attention to the proportions of the face.

materials

surface · stretched canvas

required

  • ·stretched canvas (oval shape preferred)
  • ·burnt umber oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·cadmium red light oil paint
  • ·round brushes (various sizes)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use a canvas with a smooth surface for easier blending. Consider using a pre-primed canvas to save time.

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 James Wright

Portrait of James Wright

Thomas Eakins

Portrait of a lady

Portrait of a lady

Karl Gussow

Sisters

Sisters

Émile Auguste Hublin

Catching Up on the News

Catching Up on the News

Eastman Johnson

At the porter's room

At the porter's room

Vladimir Makovsky

The portrait painter in the country

The portrait painter in the country

Albin Egger-Lienz

Flowers and Fruit

Flowers and Fruit

Henri Fantin-Latour

Valle de México desde el Molino del Rey

Valle de México desde el Molino del Rey

Jose Maria Velasco