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home·artworks·Portrait of a Young Artist, presumed to be Jacques Andre Naigeon
Portrait of a Young Artist, presumed to be Jacques Andre Naigeon by Jean-Honore Fragonard

plate no. 9111

Portrait of a Young Artist, presumed to be Jacques Andre Naigeon

Jean-Honore Fragonard

oil, canvasRococoportraitportraitfigureartistclothingbookshadows
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing light and shadow on the face and clothing. It will also improve their understanding of color mixing and brushwork techniques to create texture and depth.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the figure and the book.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber or a similar earth tone.

  3. step 03

    Block in the main areas of color, focusing on the large shapes of the clothing, face, and background.

  4. step 04

    Begin to refine the facial features, paying close attention to the highlights and shadows.

  5. step 05

    Develop the details of the clothing, using short, broken brushstrokes to create texture.

  6. step 06

    Add the details of the book, including the edges and any visible text.

  7. step 07

    Refine the background, softening the edges and adding subtle variations in color.

  8. step 08

    Add final highlights and shadows to create a sense of depth and dimension.

color palette

primary · yellow ochre · burnt umber · titanium white · cadmium red

secondary · raw sienna · ivory black · ultramarine blue

Achieve skin tones by mixing yellow ochre, burnt umber, and titanium white. Use small amounts of cadmium red for warmth. Darken shadows with burnt umber and a touch of ivory black. Mix greens for the background with yellow ochre, ultramarine blue, and burnt umber.

techniques

  • ·alla prima
  • ·chiaroscuro
  • ·broken color
  • ·scumbling
  • ·glazing

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated.
  • →Ignoring the importance of edges and transitions.

materials

surface · stretched canvas

required

  • ·Stretched canvas (16x20 inches)
  • ·Oil paints (yellow ochre, burnt umber, titanium white, cadmium red, raw sienna, ivory black, ultramarine blue)
  • ·Palette
  • ·Assorted brushes (round and flat)
  • ·Linseed oil
  • ·Odorless mineral spirits
  • ·Palette knife
  • ·Rags or paper towels

optional

  • ·medium (e.g., Liquin)
  • ·varnish
  • ·easel

Use a medium-tooth canvas for best results. Consider using a toned canvas to help establish the value structure.

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oil painting for beginners →how to learn by studying the masters →
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