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home·artworks·Portrait Of A Man
Portrait Of A Man by Hugo van der Goes

plate no. 6489

Portrait Of A Man

Hugo van der Goes, 1475

wood, temperaNorthern Renaissanceportraitportraitmanhandswindowlandscapeclothing
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering subtle skin tones, as well as understanding atmospheric perspective in the background landscape.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the portrait, including the head, shoulders, hands, and window frame.

  2. step 02

    Establish the background by blocking in the dark tones of the wall and the lighter tones of the landscape seen through the window.

  3. step 03

    Begin layering the skin tones, starting with a base layer of mid-tone flesh color and gradually building up highlights and shadows.

  4. step 04

    Carefully define the features of the face, paying close attention to the shape of the eyes, nose, and mouth.

  5. step 05

    Paint the dark clothing, using subtle variations in tone to create form and depth.

  6. step 06

    Add details to the hands, capturing the folds and wrinkles of the skin.

  7. step 07

    Refine the background landscape, adding details such as trees, mountains, and sky.

  8. step 08

    Make final adjustments to the overall composition, ensuring that the values and colors are balanced.

color palette

primary · ivory black · raw umber · yellow ochre · titanium white

secondary · burnt sienna · ultramarine blue

Skin tones are achieved by mixing white, yellow ochre, and a touch of burnt sienna. Dark areas use raw umber and ivory black. The landscape uses a mix of blues, greens, and browns.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·portraiture
  • ·atmospheric perspective

common pitfalls

  • →Getting the proportions of the face wrong.
  • →Overworking the skin tones and creating a muddy effect.
  • →Failing to capture the subtle nuances of light and shadow.
  • →Ignoring the background and focusing solely on the portrait.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·burnt sienna oil paint
  • ·ultramarine blue oil paint
  • ·assorted round and flat brushes

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·retouch varnish

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

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