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home·artworks·Monja Leyendo
Monja Leyendo by José Santiago Garnelo y Alda

plate no. 0687

Monja Leyendo

José Santiago Garnelo y Alda, 1893

oilNaturalismportraitfigureportraitnunreadingreligious clothingpaper
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in rendering skin tones and drapery folds. It also provides practice in capturing a sense of quiet contemplation.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the figure, focusing on the head, hands, and the folds of the habit.

  2. step 02

    Establish the background with a thin wash of neutral color.

  3. step 03

    Block in the main color areas of the face, hands, and habit, paying attention to the overall value structure.

  4. step 04

    Begin refining the facial features, focusing on subtle shifts in color and value to create form.

  5. step 05

    Develop the folds and shadows in the habit, using a combination of blending and layering techniques.

  6. step 06

    Add details to the hands and the paper, paying attention to the subtle variations in color and texture.

  7. step 07

    Refine the edges and details throughout the painting, ensuring that the overall composition is balanced and harmonious.

  8. step 08

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

color palette

primary · titanium white · yellow ochre · burnt sienna

secondary · ultramarine blue · raw umber · alizarin crimson

Mix skin tones using white, yellow ochre, burnt sienna, and a touch of alizarin crimson. Use ultramarine blue and raw umber to create the darker shades in the habit.

techniques

  • ·portraiture
  • ·drapery painting
  • ·glazing
  • ·blending
  • ·value studies

common pitfalls

  • →Overworking the skin tones, resulting in a flat or lifeless appearance.
  • →Failing to accurately capture the proportions of the figure.
  • →Ignoring the subtle shifts in color and value that create form.
  • →Creating overly harsh or abrupt transitions between light and shadow.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·ultramarine blue oil paint
  • ·raw umber oil paint
  • ·alizarin crimson oil paint
  • ·assorted brushes (round and flat)

optional

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

Use high-quality oil paints for best results. Consider using a medium to thin the paints and improve flow.

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