plate no. 2506

Mary with Biedermeier hut

Franz Stuck, 1910

oilSymbolismportraitportraitwomanhatbowfigureclothing

some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing likeness and rendering fabric textures with visible brushstrokes. It also provides practice in creating depth and form using value variations within a limited color palette.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 12 hrs

approach — 8 steps

step 01
Lightly sketch the outline of the figure, hat, and bow, paying attention to proportions.
step 02
Establish the dark background using a thin wash of dark brown or black.
step 03
Block in the main areas of color: the skin tones, the blue of the bow, and the browns/golds of the hat and clothing.
step 04
Begin layering values within each area, using darker tones to create shadows and lighter tones for highlights.
step 05
Focus on the face, refining the features and capturing the likeness of the subject.
step 06
Add details to the hat and bow, paying attention to the texture and folds of the fabric.
step 07
Refine the edges and details throughout the painting, ensuring a cohesive and finished look.
step 08
Add final highlights to the face, hat, and bow to enhance the sense of light and form.

color palette

primary · ultramarine blue · burnt umber · titanium white · yellow ochre

secondary · cadmium red light · ivory black

Skin tones can be achieved by mixing white, yellow ochre, and a touch of red. Vary the proportions to create highlights and shadows. The blue is a mix of ultramarine and white, darkened with a touch of burnt umber. Browns and golds are achieved by mixing burnt umber, yellow ochre, and white.

techniques

·portraiture
·chiaroscuro
·scumbling
·alla prima
·broken color

common pitfalls

→Getting the proportions of the face wrong, resulting in an inaccurate likeness.
→Overblending the colors, leading to a flat and lifeless appearance.
→Failing to create sufficient contrast between light and dark areas, diminishing the sense of form.
→Ignoring the texture of the fabric, resulting in a smooth and unrealistic rendering.

materials

surface · stretched canvas

required

·stretched canvas (12x16 inches)
·oil paints (ultramarine blue, burnt umber, titanium white, yellow ochre, cadmium red light, ivory black)
·linseed oil
·odorless mineral spirits
·assorted brushes (round and flat)
·palette
·palette knife
·rags