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home·artworks·Portrait of a gentleman bust-length in a black coat within a painted oval
Portrait of a gentleman bust-length in a black coat within a painted oval by Lemuel Francis Abbott

plate no. 9638

Portrait of a gentleman bust-length in a black coat within a painted oval

Lemuel Francis Abbott

oilRococoportraitportraitfiguremancoathairclothing
some experience helpful

Recreating this portrait will help students develop skills in portrait proportions, value shading, and capturing likeness. It also provides practice in rendering fabric and hair with subtle variations in tone.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the oval and the basic proportions of the head and shoulders.

  2. step 02

    Establish the main light and shadow areas on the face and clothing with thin washes of color.

  3. step 03

    Begin building up the skin tones, focusing on subtle transitions and highlights.

  4. step 04

    Define the features of the face, paying close attention to the eyes, nose, and mouth.

  5. step 05

    Work on the hair, using short, broken strokes to create texture and volume.

  6. step 06

    Develop the details of the coat and cravat, capturing the folds and textures.

  7. step 07

    Refine the background, ensuring it complements the figure without distracting from it.

  8. step 08

    Add final highlights and shadows to enhance the overall depth and realism.

color palette

primary · ivory black · titanium white · raw umber · cadmium red light

secondary · yellow ochre · burnt sienna

Mix skin tones by blending white, red, yellow ochre, and a touch of umber. Use ivory black and umber for the dark coat, lightened with white for highlights. The cravat is mostly white with subtle shadows of gray and umber.

techniques

  • ·portrait proportions
  • ·value shading
  • ·blending
  • ·scumbling
  • ·glazing

common pitfalls

  • →Getting the proportions of the face wrong.
  • →Overworking the skin tones and losing the subtle variations.
  • →Making the background too distracting.
  • →Failing to capture the likeness of the subject.

materials

surface · stretched canvas

required

  • ·stretched canvas 12x16
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·raw umber oil paint
  • ·cadmium red light oil paint
  • ·yellow ochre oil paint
  • ·round brushes sizes 2, 4, 6
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·burnt sienna oil paint

Use a smooth canvas for best results. Consider toning the canvas with a thin wash of raw umber before starting.

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