Paul Leclercq

Paul Leclercq sits three-quarters toward the viewer in a decorative chair, anchoring the composition with his dark navy suit and pale, carefully modeled face. Light falls from the upper left, illuminating his face and the white shirt collar while the suit remains in shadow. Behind him, the background dissolves into loose vertical strokes of blue, green, and warm gray—the room breathes rather than closes in. The eye lands first on his face, then travels down through his relaxed hands to the chair's golden decorative frame, which grounds the figure in space.

The painting rests on a stark division: the very dark suit (nearly black-blue) contrasts sharply against the much lighter background and face. The face is the lightest passage overall, with the white collar and hand highlights following. The background reads as a complex mid-tone—no single value, but a texture of light grays, blues, and ochres that sit between the suit and the brightest lights. Squint and you see three clear value layers: dark figure, light face, soft textured void behind.

• #27374c

  Prussian Blue + Burnt Umber (primary)

  The suit dominates—striated with darker lines to suggest fabric and form

• #4e6473

  Prussian Blue + Gray (secondary)

  Shadows on the face, particularly around the eyes and under the jaw

• #b6baab

  Titanium White + Yellow Ochre + touch of Prussian Blue

  The face highlights, neck, hand, and much of the background wall

• #848d8a

  Yellow Ochre + Prussian Blue + White

  Warm mid-tones in the background, the chair's decorative frame

• #979e96

  Titanium White + Cadmium Red Light + gray undertone

  Flesh tones in face and hands, shirt collar, subtle warm accents

• #767774

  Burnt Umber + Prussian Blue + White

  Deepest background strokes, definition lines in the suit and chair

The background is pure gesture—vertical streaks of color layered loosely, allowing each stroke to read individually; never blend or soften these into a unified wall or they lose energy. The figure itself has livelier edges than the background; the suit's outline is more defined, held by those economical dark lines that suggest striping. The face sits between: soft enough to read as flesh, but sketched rather than rendered, with the eyes receiving the sharpest, most decisive strokes. The chair's decorative frame uses warm, deliberate curves that contrast with the rough energy everywhere else.

1. 01

   Block in the figure and chair structure

   Lightly sketch the seated pose: head, torso angle (slightly forward and to the right), the legs in repose. Place the chair's oval back and decorative arms. Use a thin mix of Prussian Blue + Burnt Umber. The figure should occupy roughly the center-right two-thirds of your canvas; leave room for background to breathe on the left and behind. Pay attention to the tilt of the head—it's subtle but not centered.

2. 02

   Lay in the background value masses

   Using broad, vertical strokes with a mix of Prussian Blue, Yellow Ochre, and White, establish the background wall. Don't aim for uniformity—let the color shift from bluish on the left to more ochre-warm on the upper right. These strokes should be visible, not blended; they create the breathing, sketchy atmosphere. Work around the figure loosely; precision comes later.

3. 03

   Establish the suit and dark masses

   Block in the entire suit with a dark mix of Prussian Blue and Burnt Umber, leaving the white collar and shirt front visible. Use the striations—vertical lines of darker blue—to suggest the fabric's weave and folds, especially on the legs. The suit defines the figure's silhouette; make this shape confident. The hands are darker than the face but lighter than the suit body.

4. 04

   Model the face and establish the likeness

   Mix a pale flesh tone (White + Cadmium Red Light + touch of Yellow Ochre) and block in the face as a unified light shape. Then add a mid-tone (same mix + Prussian Blue shadow) for the shaded side—the right side of his face and under the jaw. The eyes are crucial: they gaze slightly down and to the left with a subtle, knowing expression. Use dark Prussian Blue + Burnt Umber for the pupils and a thin line for the upper lid. The mouth is suggested, not drawn—a line of darker flesh tone, slightly warm.

5. 05

   Paint the chair structure and frame

   Develop the chair's back and arms with curves made of warm ochre and pale beige (Yellow Ochre + White). These golden-brown decorative elements should read as carved wood or ornamental fabric. Keep them sketchy—a few confident strokes defining the curve and fold—rather than laboriously detailed. The left arm of the chair frames the figure and anchors the composition.

6. 06

   Refine the background with gestural vertical strokes

   Return to the background with a loaded brush and quick, vertical strokes. Layer additional blues, greens (Blue + Yellow), and warm grays over the initial layer. These strokes should remain visible as individual marks—they create energy and depth without demanding focus. The upper right corner receives more warm ochre and white; the left stays cooler and more blue. Suggest a table or surface on the far left with sketchy horizontal marks, but keep it vague.

7. 07

   Adjust values and refine the figure

   Step back and assess value relationships. The face must read as notably lighter than everything except the collar and highlights. Deepen shadows on the suit if needed with a dark Burnt Umber + Prussian Blue mix. Add subtle highlights on the hair (a few light strokes of pale ochre) and along the edges of the face where it catches light. Refine the hands—they need just enough modeling to read as resting naturally, not stiff.

8. 08

   Final touches and edge control

   Assess edge quality: the face should have softer, less dramatic edges than the suit; the suit outline should be held by color shift and the occasional dark line rather than a harsh edge; the background strokes should remain energetic and partial. Add any final definition—a stronger dark line for the right eye, a refinement to the lips—but resist overworking. The painting should look as though it was done with conviction and speed, not fussed over.

• Overblending the background will kill its energy and make it muddy. Those vertical strokes must remain visible and distinct, even if layered.
• Making the suit's striping too prominent or regular. Lautrec suggests the texture with scattered dark lines and value shifts, not a complete pattern; let the canvas breathe through.
• Failing to establish the face as the clear value anchor. It must feel notably lighter and more finished than everything else, drawing the eye immediately.
• The eyes are the gateway to likeness. They have a specific, slightly downward gaze with an intelligent expression; stiff or generalized eyes will undermine the whole portrait.
• The decorative chair frame can easily look awkward or overworked. Keep it spare—a few warm, curved strokes that suggest form without demanding detailed rendering.

beginner friendliness

value contrast

palette complexity

compositional simplicity

brushwork visibility