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home·artworks·Portrait of a seated girl
Portrait of a seated girl by Paul Mathiopoulos

plate no. 1574

Portrait of a seated girl

Paul Mathiopoulos

oilArt Nouveau (Modern)portraitfigureportraitinteriortablechairwindow
some experience helpful

Recreating this painting will help students develop skills in capturing subtle light and shadow, and in creating a soft, atmospheric effect using blended colors. It also provides practice in depicting the human form in a relaxed pose.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the figure, chair, table, and other elements.

  2. step 02

    Establish the overall color scheme with a thin wash of diluted paint, focusing on the main areas of light and shadow.

  3. step 03

    Begin layering in more opaque paint, gradually building up the form and details of the figure and other objects.

  4. step 04

    Pay close attention to the subtle shifts in color and value, blending the edges of the forms to create a soft, diffused effect.

  5. step 05

    Add highlights to the figure's face, dress, and other areas where the light is strongest.

  6. step 06

    Refine the details of the background, including the window, table setting, and other elements.

  7. step 07

    Add final touches and adjustments to the overall composition, ensuring that the painting has a sense of balance and harmony.

  8. step 08

    Allow the painting to dry completely and then apply a protective varnish.

color palette

primary · titanium white · raw umber · burnt sienna

secondary · ultramarine blue · yellow ochre · alizarin crimson

Achieve the soft, muted tones by mixing white with small amounts of umber, sienna, and blue. Use crimson to warm up the skin tones and add depth to shadows.

techniques

  • ·blending
  • ·scumbling
  • ·layering
  • ·glazing
  • ·dry brushing

common pitfalls

  • →Overworking the details and losing the soft, atmospheric effect.
  • →Using colors that are too bright or saturated.
  • →Failing to establish a clear sense of light and shadow.
  • →Getting the proportions of the figure wrong.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·ultramarine blue oil paint
  • ·round brushes (various sizes)
  • ·palette
  • ·linseed oil

optional

  • ·palette knife
  • ·painting medium

Use a canvas with a smooth surface to facilitate blending. Consider using a medium to thin the paint and improve its flow.

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