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home·artworks·Michelangelo Buonarroti
Michelangelo Buonarroti by Daniele da Volterra

plate no. 9348

Michelangelo Buonarroti

Daniele da Volterra, 1544

oilMannerism (Late Renaissance)portraitportraitfiguremanbeardclothingrenaissance
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing likeness and creating subtle variations in skin tones. It also provides practice in rendering fabric and creating a sense of depth through value changes.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic proportions and pose of the figure, paying attention to the placement of the head, shoulders, and hand.

  2. step 02

    Establish the overall value structure by blocking in the darks and lights with thin washes of color.

  3. step 03

    Begin to refine the facial features, focusing on the eyes, nose, and mouth. Use subtle color variations to create form and depth.

  4. step 04

    Develop the beard, using short, broken brushstrokes to create texture and volume.

  5. step 05

    Work on the clothing, paying attention to the folds and drapery. Use darker values in the shadows and lighter values in the highlights.

  6. step 06

    Refine the hand, paying attention to the anatomy and the way the light falls on the fingers.

  7. step 07

    Adjust the background to create a sense of depth and atmosphere.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

primary · burnt umber · raw sienna · ivory black

secondary · titanium white · cadmium red light · yellow ochre

Mix various shades of brown and gray by combining burnt umber, raw sienna, ivory black, and titanium white. Add small amounts of cadmium red light and yellow ochre to create warmer skin tones.

techniques

  • ·grisaille underpainting
  • ·scumbling
  • ·glazing
  • ·chiaroscuro
  • ·portraiture

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated.
  • →Ignoring the subtle variations in skin tones.

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·#4 round brush
  • ·#6 flat brush
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·turpentine

Use high-quality oil paints for best results. A toned canvas can be helpful for establishing the initial value structure.

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