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home·artworks·Portrait of Baroness Dita Berg
Portrait of Baroness Dita Berg by John Quincy Adams

plate no. 7129

Portrait of Baroness Dita Berg

John Quincy Adams, 1929

oil, canvasRealismportraitfigureportraitdresshairseatedbackground
some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly in capturing likeness and creating subtle tonal variations to model form. It also offers practice in depicting fabric and creating a sense of depth through atmospheric perspective.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch to establish the overall composition and proportions of the figure.

  2. step 02

    Block in the main areas of value: the background, the figure's skin, the dress, and the hair.

  3. step 03

    Refine the shapes and contours of the figure, paying close attention to the angles and curves of the face and body.

  4. step 04

    Start building up the tonal values in the face, using subtle gradations to create form and depth.

  5. step 05

    Work on the dress, capturing the folds and highlights with loose, expressive brushstrokes.

  6. step 06

    Develop the background, using soft, blended strokes to create a sense of atmosphere.

  7. step 07

    Add details to the hair and facial features, such as the eyes, nose, and mouth.

  8. step 08

    Make final adjustments to the values and edges to create a cohesive and balanced composition.

color palette

primary · ivory black · titanium white · raw umber

secondary · yellow ochre · burnt umber

Use ivory black and titanium white to create a range of grays. Add small amounts of raw umber and yellow ochre to warm up the skin tones. Use burnt umber to deepen the shadows in the dress.

techniques

  • ·grisaille underpainting
  • ·scumbling
  • ·dry brushing
  • ·blending
  • ·tonal gradation

common pitfalls

  • →Getting the proportions of the figure wrong.
  • →Overworking the details in the face.
  • →Creating harsh lines and edges.
  • →Failing to capture the subtle tonal variations in the skin.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·raw umber oil paint
  • ·yellow ochre oil paint
  • ·burnt umber oil paint
  • ·round brushes (various sizes)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·painting easel

Use a medium-grain canvas for best results. Consider using a toned canvas to speed up the painting process.

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