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home·artworks·Madame Jacques Louis Leblanc Francoise Poncelle
Madame Jacques Louis Leblanc Francoise Poncelle by Jean Auguste Dominique Ingres

plate no. 9611

Madame Jacques Louis Leblanc Francoise Poncelle

Jean Auguste Dominique Ingres

oilNeoclassicismportraitportraitfiguredressjewelrychairtable
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions and rendering of skin tones, as well as practice in depicting fabric and textures.

technical profile

palette complexity
3
brushwork visibility
2
value contrast
3
compositional simplicity
4

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the overall composition and proportions of the figure.

  2. step 02

    Block in the main shapes and areas of color, focusing on the background, dress, and skin tones.

  3. step 03

    Develop the values and shading of the face, paying close attention to the subtle transitions in light and shadow.

  4. step 04

    Refine the details of the dress, including the folds and textures of the fabric.

  5. step 05

    Add the jewelry and other accessories, paying attention to their reflective qualities.

  6. step 06

    Work on the patterned fabric, simplifying the design to focus on color and value relationships.

  7. step 07

    Refine the background and add any final details.

  8. step 08

    Varnish the painting to protect it and enhance the colors.

color palette

primary · ivory black · titanium white · burnt umber · yellow ochre

secondary · cadmium red light · ultramarine blue · gold

Achieve skin tones by mixing titanium white, yellow ochre, and a touch of cadmium red light. Use ivory black and burnt umber for dark areas, gradually lightening with white for highlights.

techniques

  • ·portraiture
  • ·glazing
  • ·blending
  • ·rendering fabric
  • ·chiaroscuro

common pitfalls

  • →Getting the proportions of the face wrong.
  • →Overworking the details and losing the overall sense of form.
  • →Failing to capture the subtle transitions in skin tones.
  • →Making the patterned fabric too busy and distracting.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·burnt umber oil paint
  • ·yellow ochre oil paint
  • ·cadmium red light oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·turpentine

Use high-quality oil paints for best results. A medium-grain canvas will provide a good surface for painting.

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