apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Portrait of Count C. A. Pozzo di Borgo
Portrait of Count C. A. Pozzo di Borgo by Karl Bryullov

plate no. 9171

Portrait of Count C. A. Pozzo di Borgo

Karl Bryullov, 1835

oil, canvasRomanticismportraitportraitfiguremilitaryclothingmanhistorical
experienced study

Recreating this painting will help students develop skills in portraiture, including accurate proportions and capturing likeness, as well as rendering complex textures and details in clothing and accessories. It will also improve understanding of light and shadow to create depth and form.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Create a preliminary sketch outlining the basic shapes and proportions of the figure.

  2. step 02

    Block in the background with a dark, neutral color.

  3. step 03

    Establish the main light and shadow areas on the face and clothing using thin washes of color.

  4. step 04

    Begin building up layers of color on the face, paying close attention to skin tones and subtle variations.

  5. step 05

    Work on the details of the uniform, including the gold embroidery, medals, and epaulettes.

  6. step 06

    Refine the facial features, adding highlights and shadows to create a sense of depth and realism.

  7. step 07

    Adjust the overall color balance and contrast to achieve a harmonious composition.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

primary · ivory black · titanium white · cadmium red · yellow ochre

secondary · ultramarine blue · burnt umber · gold

Mix skin tones using white, yellow ochre, cadmium red, and a touch of burnt umber. Achieve the dark background by mixing ivory black and burnt umber. Create the gold tones by mixing yellow ochre with a touch of burnt sienna and white for highlights.

techniques

  • ·portraiture
  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·rendering of textures

common pitfalls

  • →Incorrect proportions in the initial sketch.
  • →Overblending, resulting in a flat, lifeless appearance.
  • →Getting lost in the details before establishing the overall form.
  • →Inaccurate skin tones that don't capture the subject's likeness.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·oil paints (ivory black, titanium white, cadmium red, yellow ochre, ultramarine blue, burnt umber, burnt sienna)
  • ·assorted brushes (round, flat, filbert)
  • ·palette
  • ·linseed oil
  • ·turpentine
  • ·palette knife
  • ·rags

optional

  • ·retouch varnish
  • ·painting medium

Use high-quality oil paints for best results. Allow each layer to dry before applying the next.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Romantic Landscape

Romantic Landscape

Karl Lessing

Self-portrait with his brother Francesco

Self-portrait with his brother Francesco

Giuseppe Tominz

Oenone Refuse de Secourir Pâris au Siège de Troie

Oenone Refuse de Secourir Pâris au Siège de Troie

Léon Cogniet

Duke of Alba

Duke of Alba

Francisco Goya

Blick Aus Dem Wald Ins Tal

Blick Aus Dem Wald Ins Tal

Andreas Achenbach

Young Girl Fixing Her Hair

Young Girl Fixing Her Hair

Sophie Gengembre Anderson

The Plough Inn

The Plough Inn

William Shayer

Hudson River Landscape

Hudson River Landscape

Johann Hermann Carmiencke