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home·artworks·Mrs. Isaac Smith
Mrs. Isaac Smith by John Singleton Copley

plate no. 2937

Mrs. Isaac Smith

John Singleton Copley, 1769

oil, canvasNeoclassicismportraitportraitfigurechairlandscapedressgrapes
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones, as well as understanding how to depict fabric and drapery with light and shadow.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch outlining the main shapes: the figure, chair, and background elements.

  2. step 02

    Establish the background with thin washes of color, focusing on the sky and distant landscape.

  3. step 03

    Block in the main colors of the figure's clothing and chair, paying attention to the overall color harmony.

  4. step 04

    Start building up the skin tones using layers of thin paint, gradually adding highlights and shadows.

  5. step 05

    Develop the details of the face, focusing on capturing the likeness of the subject.

  6. step 06

    Refine the drapery and folds in the clothing, using light and shadow to create a sense of volume.

  7. step 07

    Add details to the chair, including the texture and decorative elements.

  8. step 08

    Finish by adding the grapes and any other small details, making sure they are integrated into the overall composition.

color palette

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

secondary · viridian green · alizarin crimson

Mix various shades of brown and gray by combining burnt sienna, ultramarine blue, and white. Achieve skin tones by mixing white, yellow ochre, and a touch of red. Use glazes to create depth and luminosity in the shadows.

techniques

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

common pitfalls

  • →Overworking the skin tones, resulting in a flat or lifeless appearance.
  • →Failing to capture the correct proportions of the figure.
  • →Ignoring the subtle variations in color and value.
  • →Getting lost in details too early, before establishing the overall composition.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints
  • ·linseed oil
  • ·turpentine
  • ·palette
  • ·assorted brushes (round and flat)
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·mahl stick

Use high-quality oil paints for best results. A medium-grain canvas is recommended.

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