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home·artworks·Portrait of Erasmus of Rotterdam
Portrait of Erasmus of Rotterdam by Quentin Matsys

plate no. 0496

Portrait of Erasmus of Rotterdam

Quentin Matsys, 1517

oil, panelNorthern Renaissanceportraitportraitfigurebooksdeskinteriorwriting
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones. It also provides practice in depicting textures like fabric and wood.

technical profile

palette complexity
3
brushwork visibility
2
value contrast
4
compositional simplicity
3

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on proportions and placement of the figure and objects.

  2. step 02

    Establish the background with a thin layer of burnt umber, gradually building up the wood grain texture.

  3. step 03

    Block in the main shapes of the figure, including the clothing and face, using a limited palette of earth tones.

  4. step 04

    Begin refining the facial features, paying close attention to the subtle variations in skin tone and the play of light and shadow.

  5. step 05

    Add details to the clothing, such as folds and wrinkles, using a combination of layering and blending techniques.

  6. step 06

    Paint the books and other objects on the desk, focusing on accurate representation of their forms and textures.

  7. step 07

    Refine the overall composition, adjusting values and adding highlights to create a sense of depth and realism.

  8. step 08

    Add final details, such as the writing in the book and the details on the ring.

color palette

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

secondary · cadmium red light · yellow ochre

Mix skin tones by blending white with small amounts of raw sienna, raw umber, and cadmium red. Use ivory black and raw umber to create the dark tones of the clothing and background.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·portraiture
  • ·underpainting

common pitfalls

  • →Incorrect proportions of the figure
  • →Overblending the skin tones, resulting in a flat appearance
  • →Failing to capture the subtle variations in value
  • →Ignoring the importance of light and shadow

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·cadmium red light oil paint
  • ·assorted brushes
  • ·palette

optional

  • ·linseed oil
  • ·palette knife
  • ·medium gloss
  • ·mahl stick

Use high-quality oil paints for best results. A smooth canvas surface will allow for easier blending.

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