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home·artworks·Portrait of a Man holding a coin of the Emperor Nero
Portrait of a Man holding a coin of the Emperor Nero by Hans Memling

plate no. 0778

Portrait of a Man holding a coin of the Emperor Nero

Hans Memling, 1480

oil, panelNorthern Renaissanceportraitportraitmancoinlandscapeskytrees
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions and subtle skin tone variations, as well as creating atmospheric perspective in the background landscape.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the proportions of the face and the placement of the figure within the landscape.

  2. step 02

    Block in the main areas of color: the skin tones, the dark clothing, the sky, and the landscape.

  3. step 03

    Begin refining the skin tones, using layers of thin paint to create subtle variations in color and value.

  4. step 04

    Add details to the face, such as the eyes, nose, and mouth, paying close attention to the light and shadow.

  5. step 05

    Develop the background landscape, using lighter colors and softer edges to create a sense of depth.

  6. step 06

    Paint the details of the clothing, including the white collar and the coin.

  7. step 07

    Refine the hair, using small brushstrokes to create texture and movement.

  8. step 08

    Add final details and highlights to the entire painting.

color palette

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

secondary · ultramarine blue · burnt sienna · cadmium red light

Mix skin tones by blending yellow ochre, burnt sienna, and titanium white. Use ultramarine blue and titanium white for the sky, and add a touch of burnt sienna to create a muted tone.

techniques

  • ·glazing
  • ·scumbling
  • ·blending
  • ·atmospheric perspective
  • ·portraiture

common pitfalls

  • →Getting the proportions of the face wrong.
  • →Using too much paint and losing the subtle variations in color.
  • →Making the background too detailed and distracting from the figure.
  • →Overworking the painting and losing the freshness of the brushstrokes.

materials

surface · stretched canvas

required

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

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use high-quality oil paints for best results. Prepare the canvas with gesso before painting.

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