plate no. 0927

Portrait of Angelica

David Alfaro Siqueiros, 1947

pyroxylinExpressionismportraitportraitfigurewomanhandsfaceexpression

some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing likeness and emotion, as well as understanding chiaroscuro and expressive brushwork.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 12 hrs

approach — 8 steps

step 01
Sketch the basic shapes and proportions of the figure, focusing on the head, hands, and torso.
step 02
Establish the overall value structure with a thin wash of burnt umber or a similar neutral tone.
step 03
Begin layering in the darker values, paying close attention to the shadows on the face, hands, and body.
step 04
Introduce the warmer tones, such as yellows and oranges, to create highlights and add depth to the skin.
step 05
Mix and apply the blues and grays in the background, using loose, expressive brushstrokes.
step 06
Refine the details of the face, focusing on the eyes, nose, and mouth to capture the likeness of the subject.
step 07
Add final touches and highlights to enhance the overall contrast and create a sense of drama.
step 08
Glaze with thin layers to unify the colors and add depth.

color palette

primary · yellow ochre · burnt umber · ultramarine blue

secondary · cadmium red · titanium white · raw sienna

Mix various shades of skin tones by combining yellow ochre, burnt umber, and cadmium red with small amounts of white and blue. Achieve the background colors by mixing ultramarine blue with burnt umber and white.

techniques

·chiaroscuro
·dry brush texture
·glazing
·expressive brushwork
·portraiture

common pitfalls

→Overworking the details and losing the expressive quality of the brushstrokes.
→Failing to establish a strong value structure early on.
→Inaccurate proportions in the initial sketch.
→Uneven skin tones.

materials

surface · stretched canvas

required

·Stretched canvas (18x24 inches)
·Oil paints (yellow ochre, burnt umber, ultramarine blue, cadmium red, titanium white, raw sienna)
·Assorted brushes (round, flat, filbert)
·Palette
·Palette knife
·Odorless mineral spirits
·Linseed oil
·Rags

optional

·medium gloss
·retouch varnish
·easel

Consider using a toned canvas to establish a mid-tone base before beginning the painting. Pyroxylin is a type of lacquer, so oil paints are a good substitute.

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