plate no. 0244

Portrait of Bindo Altoviti

oil, canvasHigh Renaissanceportraitportraitfiguremanclothinghairhat

what to study here

A head against a plain ground, with a narrow value range and soft edges, isolates the problem of modeling form through gradation alone.

Study how the whole painting is organized around one problem: getting a convincing, softly lit head out of a narrow value range. The vision read describes light entering from the left, lighting the near side of the face while the far side falls into soft shadow. The transition is described as extremely gradual, almost imperceptible in places, and all edges are soft. Squint and the picture reduces to three masses: a light face and neck, a dark costume and cap, and a fairly uniform olive-green ground. The ground is kept quiet so the face is the first thing the eye finds, then the neck, then the dark costume below. Note the small rust-red undergarment at the right shoulder, the one warm accent against the greens. Look at how the lights sit on the cheek, forehead and neck while the darkest darks stay in the cap and garment folds. Copy the face in two value zones first, then soften the join. The hair is a separate problem: golden-brown in the light, deeper in shadow, and it should still read as warm.

key decision

Raphael kept the value range compressed and the edges soft, so the face is modeled by gradual light-to-shadow transitions rather than lines. The plain olive ground and dark costume are subordinate masses that push the lit face forward.

From the record

Dimensions: 59.7 cm high × 43.8 cm wide
Institution: Samuel H. Kress Collection
Inception: 1515
Materials: oil paint, panel
Movement: High Renaissance

man
Bindo Altoviti

Wikipedia article Wikidata item Q2528106

from the sources

The portrait was completed around 1515 and is held in the National Gallery of Art in Washington, D.C. en.wikipedia.org
“The Portrait of Bindo Altoviti is a painting finished around 1515 by the Italian High Renaissance painter Raphael.”
The painting is housed in the National Gallery of Art in Washington, D.C. en.wikipedia.org
“It is housed in the National Gallery of Art in Washington, D.C., United States.”
The sitter, Bindo Altoviti, was a wealthy banker born in Rome in 1491 of Florentine descent. en.wikipedia.org
“Bindo Altoviti, a wealthy banker born in Rome in 1491 of Florentine descent, was a cultured man with a strong appreciation for the arts.”
The sitter's pose and the strong light-shadow contrast are unusual compared with Raphael's other portraits of men. en.wikipedia.org
“The subject's graceful, almost effeminate pose, combined with the pronounced contrast between light and shadow, is atypical of Raphael’s portraits of men.”
The painting shows Raphael experimenting with styles in his later Roman period, with strong influence from Leonardo. en.wikipedia.org
“This painting demonstrates Raphael’s experimentation with different styles during his later period in Rome, where he was heavily influenced by Leonardo work, which he studied closely.”
The painting stayed with Altoviti's descendants until 1808, when it was sold to Ludwig I of Bavaria. en.wikipedia.org
“The painting remained with Altoviti's descendants until 1808, when it was sold to Ludwig I of Bavaria.”
The painting was in the Alte Pinakothek until 1936, when it was removed from Nazi Germany after debate over its attribution. en.wikipedia.org
“It then resided at the Alte Pinakothek until 1936, when, following considerable debate over its attribution, it was removed from Nazi Germany by "canny English dealers".”
Samuel Henry Kress acquired the portrait, which later became part of the National Gallery of Art collection. en.wikipedia.org
“Acquired by Samuel Henry Kress, the portrait subsequently became property of the National Gallery of Art collection in Washington, D.C.”

recreation guide

The Portrait of Bindo Altoviti, painted by Raphael around 1515, is a High Renaissance work that marks a departure from the artist’s earlier male portraits through its graceful, almost effeminate pose and pronounced contrast between light and shadow (Source 3). This piece reflects Raphael’s experimentation during his later Roman period, heavily influenced by the works of Leonardo da Vinci, which he studied closely (Source 3). The painting serves as a memorial record of Bindo Altoviti, a wealthy banker and cultured man, fitting the historical tradition of portraits commissioned by the rich and powerful to capture a recognizable likeness (Source 2).

estimated time

40-60 hours over 8-12 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (pigments)	Primary medium for painting	High-quality artist-grade oil paints
Drying oil (Linseed, Poppy, Walnut, or Safflower)	Binder for pigments; choice affects drying time and yellowing	Stand oil or refined linseed oil
Turpentine	Thinner for paint and cleaning	Odorless mineral spirits or turpentine
Canvas or Wood Panel	Support surface	Primed linen canvas or poplar panel
Resin (Pine or Frankincense)	To create varnish for protection and texture if boiled with oil	Dammar resin or synthetic varnish
Pencil, Charcoal, or Ink	For initial sketching and underdrawing	Graphite pencils or vine charcoal

preparation

surface prep

While the specific ground for this canvas is not detailed in the sources, Raphael worked during a period when oil painting techniques had largely replaced egg tempera for panel paintings (Source 6). The surface would likely be prepared with a gesso ground to ensure proper adhesion of the oil layers. The use of oil allows for greater flexibility and richer color density compared to earlier methods (Source 6).

underdrawing

For complex compositions or when the sitter's time is limited, artists of this period often began with a complete pencil, ink, charcoal, or oil sketch to establish the general form and rough likeness (Source 5). Raphael likely sketched the pose and facial features directly onto the prepared surface before applying paint.

underpainting

The sources suggest that old masters frequently employed a monochrome underpainting (grisaille) before applying color. This involves painting in a neutral tone to establish values, then glazing and scumbling with oil to add color (Source 8). This technique allows for a wider range from light to dark and richer color depth (Source 6).

color palette

Neutral Grays/Browns

Black, Ultramarine, White (as per Reynolds' method cited in Source 8)

Underpainting (grisaille) to establish form and value

Reds and Yellows

Transparent red and yellow pigments

Glazing and scumbling over the dry grisaille to add warmth and flesh tones (Source 8)

Complementary Colors

Opposite colors on the spectrum

Darkening colors without shifting hue, or neutralizing mixtures (Source 4)

composition

The composition features a graceful, almost effeminate pose which is atypical for Raphael’s male portraits (Source 3). The background is likely simple or dark to emphasize the sitter, consistent with the practice of using a totally black or content-free background to focus attention on the subject (Source 5). The pronounced contrast between light and shadow (chiaroscuro) is a key compositional element, reflecting Leonardo’s influence (Source 3).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the general form and rough likeness of the sitter on the canvas using pencil, charcoal, or thin oil. Focus on the pose and facial structure.
Tip — Ensure the likeness is recognizable, as the intent of portrait painting is to represent a specific human subject (Source 2).
Initial Sketch

underpainting

step 02
Create a monochrome underpainting (grisaille) using black, ultramarine, and white to establish the values and forms. This step extracts the red and yellow colors, focusing on structure.
Tip — Allow this layer to dry completely before proceeding. This method was practiced by old masters to build depth (Source 8).
Grisaille

first pass

step 03
Apply transparent glazes of red and yellow tones over the dry grisaille. Use oil as a medium initially.
Tip — Glazing involves applying a transparent coat of color, allowing the underlying painting to show through (Source 8).
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to adjust tones and create effects like a grey bloom, especially over darker grounds.
Tip — Scumbling allows the underlying painting to make itself felt, adding texture and complexity (Source 8).
Scumbling

finishing

step 05
Refine the likeness and details, particularly the face and hands, which were often completed first or by the master in portrait studios (Source 5). Adjust lightness by mixing with white, black, or complements, being careful of hue shifts (Source 4).
Tip — Avoid adding black to darken colors if it causes unwanted hue shifts; use complementary colors instead (Source 4).
Detailing and Color Correction

varnishing

step 06
Apply a varnish made from oil boiled with resin (such as pine or frankincense) to protect the painting and enhance texture.
Tip — This provides protection and can alter the sheen of the paints (Source 6).
Varnishing

critical techniques

Glazing and Scumbling

Used by old masters to build color and depth over a monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque texture (Source 8).

Chiaroscuro

The pronounced contrast between light and shadow is evident in this work, influenced by Leonardo da Vinci (Source 3).

Color Mixing with Complements

Using complementary colors to darken or neutralize hues without shifting the hue, avoiding the pitfalls of adding black or white (Source 4).

common pitfalls

→Adding black to darken colors can cause hue shifts, particularly in yellows, oranges, and reds, moving them toward greenish or bluish tones (Source 4).
→Adding white to lighten reds and oranges can cause a shift towards blue, which must be corrected with adjacent colors (Source 4).
→Over-modeling or being too tied down to the outline can result in a stiff appearance; copying works like Reynolds’s 'Portraits of Two Gentlemen' can help check this tendency (Source 1).
→Failing to achieve a recognizable likeness, which is the primary intent of portrait painting (Source 2).

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·Specific pigments used by Raphael for this painting are not listed in the sources.
·The exact dimensions and aspect ratio of the canvas are not provided.
·Detailed description of the clothing patterns, jewelry, or specific background elements is absent from the sources.
·The specific type of oil Raphael preferred for this work is not stated, though general Renaissance practices are noted.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting↗
- ON COPYING — applied to Advice on correcting weaknesses like over-modeling or smallness
- COLOURING A MONOCHROME — applied to Grisaille, glazing, and scumbling techniques

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia: Portrait painting↗
- Portrait painting — part 1 — applied to Intent of portrait painting and historical context
- Portrait painting — part 5 — applied to Composition, underdrawing, and studio practices
Wikipedia: Portrait of Bindo Altoviti↗
- Portrait of Bindo Altoviti — part 1 — applied to Artwork context, pose, and Leonardo's influence
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Color mixing techniques and avoiding hue shifts
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to Properties of oil paint, mediums, and varnishing

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

The figure is positioned in a three-quarter view, turned slightly right, with diffused light entering from the left that illuminates the near side of the face while the far side recedes into soft shadow. The head with long, shoulder-length reddish-brown hair sits atop a bare neck and shoulder; a dark teal-green garment drapes the back and left side of the figure, with a rust-red undergarment visible at the right shoulder. A dark navy cap crowns the head. The entire composition is set against a warm olive-green ground that fills the frame uniformly, creating an intimate, enclosed setting with no distractions. The eye travels first to the luminous, modeled face—the focal point—then follows the gentle arc of the neck and the contrasting dark mass of the costume downward.

value structure

The value organization is subtle and compressed, with a narrow range that emphasizes the soft modeling rather than dramatic contrast. The darkest darks appear in the hat, the shadowed folds of the garment, and the deepest background recesses; the lightest lights sit on the illuminated cheek, forehead, and neck. The transition from light to shadow on the face is extremely gradual—almost imperceptible in places—creating the soft sfumato effect characteristic of High Renaissance technique. When you squint, you see distinct masses: a light face-and-neck area, a dark costume mass, and the relatively uniform olive background anchoring everything.

observed palette and mixes

#474f23
Viridian + Yellow Ochre + Ivory Black, with added Linseed Oil for flow
Dominant mid-tone of the background; also visible in the green garment where it catches light
#8e7640
Yellow Ochre + Raw Umber + Titanium White; warm shadow tone for skin
The shadowed right side of the face, under the cheekbone, and in the warm underpainting visible through the neck area
#14140b
Ivory Black + Raw Umber, minimal white
The darkest accents: the hat, deep folds in the dark garment, pupils
#232612
Ivory Black + Viridian + Yellow Ochre
Very dark greens in the shadowed garment and recessed background areas
approx. #d4a574
Titanium White + Yellow Ochre + Cadmium Red Light (tiny touch)
Illuminated forehead, cheek, and upper neck—the brightest, warmest skin tones
approx. #a0652f
Burnt Sienna + Yellow Ochre + Cadmium Red Light
The hair throughout; golden-brown in highlights, deepening to burnt sienna in shadow

edges and brushwork

All edges are soft and diffused—there are no hard lines anywhere in this painting. The transition from face to shadow is achieved through impossibly subtle value gradation, not edge definition. The brushwork itself is invisible; individual strokes are completely integrated and blended. This requires patient layering, allowing each layer to dry partially, and blending wet-into-wet with extreme delicacy, particularly around the cheekbone and jaw.

a working sequence

01
Underpainting and structure
Lightly sketch the head proportions and the three-quarter turn. Establish the basic placement of the hat, the hair mass, the neck and shoulder, and the garment. Use thin raw umber or burnt umber thinned with solvent to map the major forms without detail. Pay particular attention to the angle of the head—it tilts slightly, and the gaze direction is subtle and introspective.
02
Value map for the face
Block in the broad light and shadow areas of the face using a warm mid-tone (Yellow Ochre + Raw Umber + White). The left (near) side is much lighter; the right (far) side is noticeably darker. Do not blend yet—just establish the two main value zones so you can see the overall modeling structure.
03
Background establishment
Paint the entire background with the warm olive-green (#474f23 range: Viridian + Yellow Ochre + Ivory Black). Keep it relatively uniform; this serves as the color anchor for the entire composition. Allow very subtle variation in value—slightly darker in the upper corners and right edge—but resist the urge to make it interesting. It should feel like a quiet, neutral stage.
04
Dark costume and hat
Block in the dark teal-green garment (Viridian + small touch of Ivory Black + tiny Yellow Ochre for warmth) and the navy-black hat. Paint around the neck and hair, leaving those areas clear. The garment should be darker than the background and should show the gentle curvature of the shoulders. Leave the rust-red undergarment visible at the right shoulder edge.
05
Refine skin tones with soft modeling
Begin building the face with warmer, lighter skin tones in the illuminated areas (Titanium White + Yellow Ochre + small touch of Cadmium Red Light). Layer this over the shadow block, allowing the shadow layer to show through in the recessed areas. The cheek should be warmest and brightest. Use a soft brush and blend edges where light meets shadow on the cheekbone, temple, and jaw—this blending is the heart of the portrait and requires patience and a very light touch.
06
Model the hair and refine facial features
Paint the hair with Burnt Sienna + Yellow Ochre, allowing it to vary in value from golden in the highlights to deep brown in shadow. The hair should have a fluid, almost luminous quality where it catches light. Define the eyes, nose, and mouth with restraint—these features should emerge from the modeling of form rather than being drawn with dark lines. The gaze should be soft and slightly downturned, giving the figure its contemplative quality.
07
Heighten highlights and luminosity
Add touches of near-pure Titanium White + tiny Yellow Ochre to the brightest parts of the face: the forehead, the bridge of the nose, and the most prominent part of the cheek. These highlights should be subtle enough that you might miss them at first glance—they create the sense that light is actually falling on the face. Also add subtle warm highlights to the hair where light catches the curls.
08
Final refinement of edges and color harmony
Step back and assess the overall softness. Any edge that feels too hard should be gently blended by layering a mid-tone over the junction. Check that the skin tones are warm and breathing—not ashy or gray. Ensure the dark garment recedes appropriately behind the bright face. Make any final adjustments to the shadows under the chin and along the jaw. The painting should feel unified, with all elements in harmony, as if lit by a single, gentle light source.

where studies of this painting go wrong

Hardening the edges between light and shadow on the face—this is where sfumato matters most. Resist the temptation to define where shadow begins; instead, let the transition be almost invisible.
Making the background either too uniform (boring, lifeless) or too varied (distracting). It should be stable and quiet, perhaps imperceptibly darker at the edges but never mottled or busy.
Getting the skin tone too pink or too gray. The illuminated skin here is warm and golden, with an almost yellowish undertone from the ochre. Shadows are warm brown, not purple or cool.
Overlooking the hair's luminosity. It should feel like it has its own light; use golden and warm reddish tones in the highlights, not just lighter versions of the shadow color.
Drawing the eyes and mouth too darkly or too precisely. They should feel like they belong to the modeled form, emerging subtly, not sitting on the surface as features.
Losing the introspective gaze direction. The eyes should look slightly downward and to the side—this is part of the figure's contemplative, almost melancholic character.

measured difficulty