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home·artworks·Portrait of Aynard, Count of Clermont-Tonnerre, Brigadier General
Portrait of Aynard, Count of Clermont-Tonnerre, Brigadier General by Diogène Maillart

plate no. 1319

Portrait of Aynard, Count of Clermont-Tonnerre, Brigadier General

Diogène Maillart, 1893

oil, canvasAcademicismportraitportraitfiguremilitary uniformmanmedalshat
experienced study

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones. It also provides practice in depicting complex details like medals and uniform embellishments.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Sketch the basic proportions and pose of the figure on the canvas.

  2. step 02

    Establish the background color with a thin wash of brown and umber.

  3. step 03

    Block in the main shapes of the figure, focusing on the overall value structure.

  4. step 04

    Develop the skin tones, layering and blending colors to create realistic shading.

  5. step 05

    Paint the uniform, paying attention to the details of the fabric and embellishments.

  6. step 06

    Add the medals and decorations, carefully rendering their intricate designs.

  7. step 07

    Refine the facial features, focusing on capturing the likeness of the subject.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

primary · ivory black · burnt umber · raw sienna · titanium white

secondary · cadmium yellow · alizarin crimson · ultramarine blue

Mix various shades of brown and gray by combining burnt umber, raw sienna, ivory black, and titanium white. Add small amounts of cadmium yellow or alizarin crimson to warm up the skin tones.

techniques

  • ·portraiture
  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·rendering details

common pitfalls

  • →Getting the proportions wrong in the initial sketch.
  • →Overworking the skin tones and losing the freshness of the paint.
  • →Failing to capture the likeness of the subject.
  • →Getting lost in the details and neglecting the overall composition.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints (ivory black, burnt umber, raw sienna, titanium white, cadmium yellow, alizarin crimson, ultramarine blue)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·assorted brushes (round, flat, filbert)
  • ·palette
  • ·palette knife
  • ·rags or paper towels

optional

  • ·retouch varnish
  • ·medium gloss
  • ·easel

Use high-quality oil paints for best results. A medium-grit canvas will provide a good surface for layering and blending.

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