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home·artworks·Mademoiselle de Clermont as a Sultana
Mademoiselle de Clermont as a Sultana by Jean-Marc Nattier

plate no. 0362

Mademoiselle de Clermont as a Sultana

Jean-Marc Nattier, 1733

oilOrientalismportraitfigureportraitinteriordraperycarpetarchitecture
experienced study

Recreating this painting would help students develop skills in portraiture, rendering skin tones, and depicting complex drapery and textures. It also provides practice in creating a sense of depth and atmosphere.

technical profile

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

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the composition and proportions of the figures and the room.

  2. step 02

    Block in the main areas of color, focusing on the overall values and relationships between different sections.

  3. step 03

    Start refining the skin tones, using subtle layers of color to create depth and form.

  4. step 04

    Work on the drapery, paying attention to the folds and highlights to create a sense of volume.

  5. step 05

    Develop the details of the carpet and other textures, using smaller brushes and more precise strokes.

  6. step 06

    Refine the background and architectural elements, ensuring they support the overall composition.

  7. step 07

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

  8. step 08

    Glaze the painting to unify the colors and add a subtle sheen.

color palette

primary · titanium white · raw umber · cadmium red light · yellow ochre

secondary · ultramarine blue · ivory black · burnt sienna

Achieve skin tones by mixing white, yellow ochre, and a touch of red. Use raw umber and ivory black to create shadows and darker tones. Mix ultramarine blue and white for the cooler areas of the background.

techniques

  • ·portraiture
  • ·drapery rendering
  • ·glazing
  • ·scumbling
  • ·color layering

common pitfalls

  • →Getting the proportions of the figures wrong.
  • →Overworking the skin tones and losing the subtle variations.
  • →Failing to create a sense of depth and atmosphere.
  • →Ignoring the importance of light and shadow in creating form.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·raw umber oil paint
  • ·cadmium red light oil paint
  • ·yellow ochre oil paint
  • ·ultramarine blue oil paint
  • ·ivory black oil paint
  • ·assorted brushes (round and flat)

optional

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

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

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