apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Portrait of a Lady
Portrait of a Lady by Marie-Guillemine Benoist

plate no. 9574

Portrait of a Lady

Marie-Guillemine Benoist, 1799

oilNeoclassicismportraitportraitfiguredressshawlhairheadband
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions, subtle skin tone blending, and rendering drapery folds. It also offers practice in creating a smooth, classical finish.

technical profile

palette complexity
3
brushwork visibility
2
value contrast
3
compositional simplicity
4

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic figure proportions and pose on the canvas.

  2. step 02

    Block in the main shapes of the dress, shawl, and background with thin washes of color.

  3. step 03

    Establish the light and shadow patterns on the face, focusing on accurate placement.

  4. step 04

    Begin layering skin tones, blending carefully to create smooth transitions.

  5. step 05

    Develop the details of the dress and shawl, paying attention to folds and highlights.

  6. step 06

    Add the hair, working from dark to light and capturing the texture.

  7. step 07

    Refine the facial features, including the eyes, nose, and mouth.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

primary · titanium white · yellow ochre · raw umber · cadmium red light

secondary · ultramarine blue · ivory black

Skin tones are achieved by mixing titanium white, cadmium red light, and yellow ochre, with small amounts of raw umber for shadows. The shawl is primarily yellow ochre, lightened with white. Background is a mix of white, raw umber and a touch of blue.

techniques

  • ·portraiture
  • ·blending
  • ·glazing
  • ·drapery rendering
  • ·portrait proportions

common pitfalls

  • →Incorrect proportions of the face.
  • →Muddy skin tones due to over-mixing.
  • →Flat, lifeless drapery.
  • →Overworking the details too early.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·raw umber oil paint
  • ·cadmium red light oil paint
  • ·ultramarine blue oil paint
  • ·ivory black oil paint
  • ·assorted brushes (round and flat)

optional

  • ·palette knife
  • ·linseed oil
  • ·odorless mineral spirits

Use high-quality oil paints for best results. A medium-tooth canvas will provide a good surface for blending.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Marie-Gabrielle Capet

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

Giovanni Battista Piranesi

Portrait of Louis d'Orleans

Portrait of Louis d'Orleans

Franz Xaver Winterhalter

Rooftops in the shadows

Rooftops in the shadows

Pierre-Henri de Valenciennes

The Schmadribach Falls

The Schmadribach Falls

Joseph Anton Koch

A Scene from 'As You Like It' by William Shakespeare

A Scene from 'As You Like It' by William Shakespeare

William Hamilton

Portrait of Klementyna Ostrowska Née Sanguszko

Portrait of Klementyna Ostrowska Née Sanguszko

Vincenzo Camuccini

Self-Portrait

Self-Portrait

Anton Raphael Mengs