plate no. 5806

Portrait of Eduardo Santonja Rosales

oilExpressionismportraitportraitfigureheadmanhairface

what to study here

It shows a loose, scribbled hair treatment against a structurally controlled face, using only three value groups and bare paper.

Look at how this head is built in two different registers. The hair is handled with bold, directional, almost scribbled strokes that follow growth direction and mass, and are left deliberately unfinished. The face inside it is more controlled: softer edges, light blending and crosshatching that fuse values, and single confident contour lines for the jaw, cheekbones and forehead. Study that contrast and ask where the painter chose to tighten and where to loosen. Then check the value structure. Three groups carry it: untouched cream paper as the lightest light, warm ochre and tan mid-tones for the face and neck, and dark browns for hair, eye sockets, the shadow side of the face and under the jaw. The eye sockets are very dark, which pulls attention to the gaze. Light comes from the upper left, leaving the right side of the face and neck in shadow. Notice also how much of the paper is left bare. The head gets its weight from contour and shadow against blank ground, not from a painted background. Try a small squint study of the value shapes before drawing any features.

key decision

The painter kept the hair gestural and unfinished while building the face and jaw with soft blending and decisive single contours. The untouched paper serves as both background and lightest value.

recreation guide

This recreation guide addresses the painting of a portrait in the style of Carlos Saenz de Tejada, an artist associated with Expressionism. While specific visual details of the 'Portrait of Eduardo Santonja Rosales' are not described in the provided sources, the technique relies on established oil painting practices relevant to the medium and the expressionist emphasis on color contrast. The process emphasizes the structural integrity of the underpainting and the optical effects of glazing and scumbling to achieve depth and tonal harmony, rather than relying solely on opaque mixing.

estimated time

20-30 hours over 5-7 sessions (allowing for drying times between glaze layers)

materials

6 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Linen canvas	Support for oil painting	Primed linen or cotton canvas
Linseed oil	General purpose drying oil for mixing paints and mediums	Refined linseed oil
Oil of Copavia (or Dammar resin)	Medium for initial layers to ensure fast drying and clarity	Dammar varnish or Galkyd medium
Black, Ultramarine, and White pigments	For the initial monochrome underpainting (grisaille)	Ivory black, Ultramarine blue, Titanium or Zinc white
Red and Yellow earth pigments (Ochres, Siennas)	For glazing and scumbling to introduce color	Yellow Ochre, Raw Sienna, Burnt Umber
Safflower or Poppyseed oil	For mixing lighter colors to prevent yellowing	Safflower oil medium

preparation

surface prep

Prepare a linen support, as linen is a traditional support derived from the flax plant, consistent with historical oil painting practices (Source 3). The surface should be primed to accept oil paints. While the specific ground color for Saenz de Tejada is not detailed, a neutral or toned ground is typical for expressionist works to facilitate the perception of light and shadow.

underdrawing

The sources do not specify Saenz de Tejada’s underdrawing method. However, general advice suggests that a sound craftsman must first master the 'alphabet' of the art, implying a careful initial layout (Source 5). Use charcoal or thinned oil to establish the likeness, ensuring the proportions are correct before applying paint, as likeness is the primary intent of portrait painting (Source 8).

underpainting

Execute a monochrome underpainting (grisaille) using black, ultramarine, and white mixed with oil of copavia (Source 1). This layer establishes the values and forms without the distraction of color. This method is attributed to Sir Joshua Reynolds and is recommended for establishing a solid foundation (Source 1). Allow this layer to dry completely before proceeding.

color palette

Monochrome Base

Black, Ultramarine, White

Underpainting to establish form and value

Warm Glazes

Red and Yellow earth tones (Ochres, Siennas)

Glazing over the dry grisaille to introduce flesh tones and warmth

Cool Scumbles

Grey or diluted cool tones

Scumbling over darker areas to create coldness or grey blooms, enhancing contrast

composition

The composition should focus on the inherent colors of the model, such as flesh, eyes, and hair, which are fixed by the subject (Source 6). The artist has freedom in choosing the background and draperies to harmonize with the figure. In the expressionist style, attention should be paid to the law of simultaneous contrast, where adjacent colors influence each other’s appearance, allowing the artist to enhance the emotional impact through color juxtaposition rather than strict realism (Source 2).

step by step

underdrawing→underpainting→refining→finishing

underdrawing

step 01
Sketch the portrait on the prepared canvas, focusing on accurate likeness and proportion.
Tip — Ensure the likeness is recognizable, as this is the primary goal of portraiture (Source 8).
Preparatory drawing

underpainting

step 02
Mix black, ultramarine, and white with oil of copavia. Paint the entire composition in monochrome, establishing light and shadow.
Tip — This method is established by Reynolds and provides a stable base for subsequent color layers (Source 1).
Grisaille

refining

step 03
Allow the grisaille to dry completely. Then, apply transparent glazes of red and yellow tones using oil or a mix of varnish and oil.
Tip — Glazing adds depth and color without obscuring the underlying form. It is akin to tinting an engraving (Source 1).
Glazing
step 04
Apply semi-opaque scumbles, particularly over darker areas, to introduce coolness or grey blooms.
Tip — Scumbling allows the underlying painting to show through, creating complex tonal effects (Source 1).
Scumbling

finishing

step 05
Adjust colors based on the law of simultaneous contrast, ensuring that adjacent hues enhance each other’s intensity and harmony.
Tip — Be aware that colors appear different when viewed together than when viewed separately; adjust to achieve the desired optical effect (Source 2).
Simultaneous Contrast

critical techniques

Glazing and Scumbling

Used to build color and depth over a dry monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque texture and coolness.

Simultaneous Contrast

Applied to harmonize colors and enhance the perception of light and shadow. The artist must account for how adjacent colors influence each other.

Monochrome Underpainting

Establishes the structural integrity of the portrait using a limited palette of black, ultramarine, and white.

common pitfalls

→Applying color before the underpainting is completely dry, which can lead to muddiness and cracking (Source 1).
→Ignoring the law of simultaneous contrast, resulting in colors that appear dull or inaccurate due to optical interference (Source 2).
→Over-modeling or becoming too tied to the outline, which can stifle the expressive quality of the work (Source 5).
→Using linseed oil for light colors like white, which may yellow over time; use safflower or poppyseed oil instead (Source 3).

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 visual details of the 'Portrait of Eduardo Santonja Rosales' (e.g., clothing, background, pose) are not described in the sources.
·Carlos Saenz de Tejada’s specific palette preferences or unique stylistic quirks beyond general Expressionism are not detailed.
·The exact year of creation is not available, limiting period-specific material analysis.

grounded in

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

The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting and glazing techniques
- ON COPYING — applied to General craftsmanship and avoiding over-modeling
Laws of Contrast of Colour↗
- Simultaneous Contrast — applied to Color harmony and optical effects

cross-referenced from

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

Wikipedia: Oil painting↗
- Materials — applied to Selection of drying oils and pigments
Wikipedia: Portrait painting↗
- Portrait painting — applied to Intent of likeness in portraiture

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

A three-quarter frontal head portrait tilted slightly downward, with a warm light source coming from the upper left that creates pronounced shadow along the right side of the face and neck. The eye area immediately commands attention—both eyes gaze forward with a contemplative, almost withdrawn quality. The hair is rendered with loose, gestural strokes that suggest form through direction rather than finishing; this expressionistic treatment contrasts sharply with the more carefully structured face. The jaw and neck are defined by strong contour lines and shadow work that give the head solidity and weight against the blank paper.

value structure

Three clear value groups organize the composition: the untouched cream paper as lightest light, warm mid-tone ochres and tans forming the core of the face and neck, and rich dark browns creating frame-like shadows in the hair, eye sockets, beneath the jaw, and the shadow side of the face. The eye sockets are notably dark, pulling focus to the eyes themselves. Squint and you see a simple, high-contrast structure: a warm face emerging from dark hair and shadow, set against neutrality.

observed palette and mixes

#f7e6b8
paper itself; untouched ground
all background and lightest flesh passages
#d9a451
raw sienna + ochre with white
primary flesh tone across forehead, cheeks, and nose bridge
#eec984
yellow ochre + touch of umber
lighter mid-tone transitions and neck areas
#855c23
raw umber + burnt sienna
darkest shadow areas: hair, jaw shadow, eye sockets, right side of face

edges and brushwork

The hair employs emphatic, directional line work—bold strokes that follow growth direction and mass, deliberately unfinished and energetic, almost scribbled. The face uses softer edges throughout, achieved through light blending and crosshatching that fuses values together rather than separating them. The contours of the jaw, cheekbones, and forehead are confident single lines, placed decisively with no second-guessing. This creates a striking duality: loose expressionism above and around the head, tight structural control within it.

a working sequence

01
Block the head shape and proportions
Lightly draw the overall head form as an oval, then establish the three-quarter tilt—the chin points slightly down and to our right, the top of the head tilts back. Mark eye line, nose placement, and jaw angle. Note that the head is roughly as wide as the distance from hairline to chin. The proportions are crucial; take time here.
02
Map facial features in light outline
Place the two eyes—they're set well apart, with the left eye (viewer's left) appearing slightly larger due to the three-quarter view. The nose is relatively straight and centered. The mouth is small and understated, with a thin upper lip and fuller lower lip. The mustache sits above the upper lip. Don't shade yet; just draw placement lines.
03
Establish the shadow structure
Identify where the light hits: full light on the forehead, left cheek, and bridge of nose. The right side of the face and the entire right jaw receive strong shadow. Apply medium-dark tone to these shadow areas using gentle hatching or blending. The neck receives significant shadow, particularly on the right side and under the jaw. This creates the dimensional foundation.
04
Develop the eye area
Darken the eye sockets significantly—they're the darkest feature after the hair. Both eyes look forward with a reflective, somewhat distant quality. Leave a small highlight in each eye. The eyelids have weight and shadow; don't make them too delicate. The brows are strong, particularly the left one (viewer's left), and help define the gaze.
05
Refine the face with mid-tone transitions
Blend and soften the transitions between light and shadow on the cheeks and forehead. The face should read as a unified volume, not a collection of flat tones. Pay attention to the cheekbone structure—subtle modeling here prevents flatness. The nose receives light on the bridge and left plane; it casts a small shadow to the right. Work carefully around the mouth.
06
Define the jaw and neck with strong contours
The jaw line is a key feature here—establish it with a confident dark line or strong value shift. The neck has pronounced structure; it's rendered with crosshatching and darker tones, particularly on the right side and beneath the jaw. The neck connects solidly to the shoulders and must feel substantial, not thin or weak.
07
Render the hair with loose, directional strokes
Switch to a looser, more gestural approach for the hair. Use bold, curving lines that follow the direction of hair growth and the form of the skull. The hair is richly dark, almost black in the deepest areas. Don't attempt to draw every strand; suggest mass and movement through broad, expressive marks. The left side (viewer's right) has particularly animated strokes. This should feel energetic and unfinished compared to the face.
08
Refine values and add final accents
Step back and assess the overall value distribution. Deepen shadows if they read too light; ensure the face maintains its luminosity against the framing darkness. Add any final strong accents—perhaps a reinforced jaw shadow or a sharpened eye socket. Leave the paper visible; don't cover everything. The painting should feel economical, suggesting more than it shows.

where studies of this painting go wrong

Losing the three-quarter turn by making the face too symmetrical; watch the tilt of the eye line and the placement of the nose relative to the face plane
Over-finishing the hair and making it neat rather than gestural—resist the urge to control every strand; let it stay loose and energetic
Blending the face too much and erasing the structural drawing; maintain line work underneath the tones for solidity
Neglecting the neck and jaw structure, which anchor the head and define the portrait's character—the jaw is a strong, defining feature here
Making the eyes too bright or the eye sockets insufficiently dark; the darkness of the sockets makes the eyes themselves come alive
Softening the mustache and mouth features so they disappear; they're subtle but present and important to likeness

measured difficulty