apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Portrait of Elizabeth Courtauld
Portrait of Elizabeth Courtauld by Edward Poynter

plate no. 4404

Portrait of Elizabeth Courtauld

Edward Poynter, 1871

oilRomanticismportraitportraitfiguredresspeacock fanchairinterior
experienced study

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones, as well as practice with depicting complex textures like fabric and feathers.

technical profile

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

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Create a light sketch outlining the main shapes: head, body, chair, and fan.

  2. step 02

    Establish the background and basic values of the wall and chair.

  3. step 03

    Block in the skin tones of the face, neck, and hands using a limited palette.

  4. step 04

    Begin layering and blending the skin tones to create a smooth, realistic appearance.

  5. step 05

    Paint the dress, focusing on the folds and shadows to create volume.

  6. step 06

    Add the details of the lace collar and peacock feathers, paying attention to their intricate patterns.

  7. step 07

    Refine the details of the face, including the eyes, nose, and mouth.

  8. step 08

    Add final highlights and shadows to create depth and dimension.

color palette

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

secondary · viridian · cadmium red light · yellow ochre

Mix skin tones by blending white, raw umber, burnt sienna, and a touch of red. Use ivory black and raw umber to create the dark tones of the dress. Achieve the peacock feather colors by mixing viridian, burnt sienna, and yellow ochre.

techniques

  • ·portraiture
  • ·glazing
  • ·blending
  • ·layering
  • ·rendering textures

common pitfalls

  • →Getting the proportions of the face incorrect.
  • →Overworking the skin tones and creating a muddy appearance.
  • →Failing to capture the subtle variations in color and value.
  • →Losing the overall composition by focusing too much on individual details.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·viridian oil paint
  • ·cadmium red light oil paint
  • ·round brushes (sizes 0, 2, 4, 6)

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use high-quality oil paints for best results. Consider using a medium to thin the paints and improve blending.

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