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home·artworks·Portrait of an old woman
Portrait of an old woman by Paula Modersohn-Becker

plate no. 9113

Portrait of an old woman

Paula Modersohn-Becker, 1898

paperExpressionismportraitportraitfigurewomanclothingfacehead
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing subtle variations in skin tone and creating a sense of depth with a limited color palette. It also provides practice in simplifying forms and focusing on essential details.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the head, shoulders, and clothing.

  2. step 02

    Block in the background with a thin wash of off-white, leaving some areas slightly darker or lighter.

  3. step 03

    Establish the main areas of light and shadow on the face using a limited palette of earth tones.

  4. step 04

    Mix subtle variations of skin tone and apply them with soft, blended brushstrokes.

  5. step 05

    Define the features of the face, paying attention to the placement of the eyes, nose, and mouth.

  6. step 06

    Paint the dark clothing with a solid, opaque layer of black, adding subtle highlights and shadows.

  7. step 07

    Refine the edges and details of the portrait, softening some areas and sharpening others to create a sense of depth.

  8. step 08

    Add final touches and highlights to bring the portrait to life.

color palette

primary · ivory black · raw umber · titanium white

secondary · yellow ochre · burnt sienna

Mix skin tones by combining white, raw umber, and yellow ochre. Use burnt sienna for warmer areas and ivory black to cool down the tones. Achieve the black clothing by using ivory black straight from the tube.

techniques

  • ·portraiture
  • ·value study
  • ·blending
  • ·limited palette
  • ·layering

common pitfalls

  • →Overworking the details and losing the simplicity of the original.
  • →Using too much paint and creating a muddy effect.
  • →Failing to capture the subtle variations in skin tone.
  • →Getting the proportions of the face wrong.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·round brushes
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

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

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