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home·artworks·Portrait of Anne Marie Louise Thélusson, Countess of Sorcy
Portrait of Anne Marie Louise Thélusson, Countess of Sorcy by Jacques-Louis David

plate no. 2320

Portrait of Anne Marie Louise Thélusson, Countess of Sorcy

Jacques-Louis David, 1790

oil, canvasNeoclassicismportraitportraitfiguredresschairshawlhair
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions, subtle skin tone variations, and rendering fabric folds. It also provides practice in creating soft, diffused lighting and a sense of depth through atmospheric perspective.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Create a light sketch outlining the figure, chair, and major folds of the dress and shawl.

  2. step 02

    Establish the background color with a thin wash of muted gray-brown.

  3. step 03

    Block in the main areas of color for the skin, hair, dress, shawl, and chair, focusing on accurate value relationships.

  4. step 04

    Begin refining the skin tones, paying close attention to subtle shifts in color and value to create a realistic effect.

  5. step 05

    Develop the details of the hair, using small brushstrokes to suggest individual curls and strands.

  6. step 06

    Work on the fabric folds of the dress and shawl, using highlights and shadows to create a sense of volume and depth.

  7. step 07

    Add the details of the chair and the patterned border of the shawl.

  8. step 08

    Refine the overall composition, adjusting values and colors as needed to create a harmonious and balanced image.

color palette

primary · titanium white · ivory black · raw umber · cadmium red light

secondary · yellow ochre · burnt sienna · ultramarine blue

Achieve skin tones by mixing white, red, yellow ochre, and a touch of blue or umber. Create the dress and shawl colors by mixing white with small amounts of umber, ochre, and red. The background is a mix of black, umber, and white.

techniques

  • ·portraiture
  • ·glazing
  • ·blending
  • ·scumbling
  • ·rendering fabric

common pitfalls

  • →Incorrect proportions of the figure
  • →Overly harsh or unrealistic skin tones
  • →Flat or lifeless rendering of the fabric
  • →Ignoring subtle value shifts in the background
  • →Getting lost in details too early

materials

surface · stretched canvas

required

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

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel
  • ·mahl stick

Use high-quality oil paints for best results. A smooth canvas surface will help with blending.

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