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home·artworks·Mademoiselle Beatrice Tapie de Celeyran
Mademoiselle Beatrice Tapie de Celeyran by Henri de Toulouse-Lautrec

plate no. 7594

Mademoiselle Beatrice Tapie de Celeyran

Henri de Toulouse-Lautrec, 1897

oil, panelPost-Impressionismportraitportraitfigurewomandresshairbackground
some experience helpful

Recreating this painting will help students understand how to use broken color and visible brushstrokes to create form and texture. It also provides practice in capturing a likeness and conveying a mood through subtle variations in color and value.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the figure onto the canvas.

  2. step 02

    Establish the background colors with broad, loose strokes.

  3. step 03

    Block in the main areas of the figure, focusing on the overall shapes of the dress, face, and hair.

  4. step 04

    Begin to refine the facial features, paying attention to the subtle shifts in value and color.

  5. step 05

    Develop the details of the dress, using short, broken brushstrokes to create texture and form.

  6. step 06

    Add highlights and shadows to enhance the three-dimensionality of the figure.

  7. step 07

    Refine the background, adding subtle variations in color and texture to create depth.

  8. step 08

    Make final adjustments to the overall composition, ensuring that the figure is well-integrated into the background.

color palette

primary · yellow ochre · burnt sienna · titanium white

secondary · raw umber · cadmium red light · ultramarine blue

Achieve skin tones by mixing yellow ochre, burnt sienna, and titanium white, with small amounts of cadmium red for warmth. Use raw umber and ultramarine blue to create shadows and darker areas.

techniques

  • ·broken color
  • ·dry brush
  • ·scumbling
  • ·alla prima
  • ·color temperature

common pitfalls

  • →Overblending the colors, resulting in a flat, lifeless appearance.
  • →Focusing too much on detail too early in the process.
  • →Ignoring the subtle shifts in value and color that create form.
  • →Not capturing the likeness of the subject.

materials

surface · stretched canvas

required

  • ·stretched canvas (12x16 inches)
  • ·oil paints (yellow ochre, burnt sienna, titanium white, raw umber, cadmium red light, ultramarine blue)
  • ·palette
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine
  • ·palette knife

optional

  • ·painting medium (e.g., Liquin)
  • ·varnish
  • ·easel

Use a medium-tooth canvas to allow for good paint adhesion and texture. Consider using a limited palette to simplify the color mixing process.

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related guides

oil painting for beginners →color theory for painters →how to learn by studying the masters →
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