apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Portrait of George Gage with Two Attendants
Portrait of George Gage with Two Attendants by Anthony van Dyck

plate no. 7377

Portrait of George Gage with Two Attendants

Anthony van Dyck

oilBaroqueportraitfiguresportraitcolumnslandscapeclothingmen
experienced study

Recreating this painting will help students develop skills in portraiture, particularly capturing likeness and rendering realistic skin tones. It also offers practice in depicting drapery and complex lighting.

technical profile

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

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Establish the background with broad strokes, indicating the columns and landscape.

  3. step 03

    Block in the main areas of color for each figure, paying attention to the overall value structure.

  4. step 04

    Begin refining the skin tones, using layers of thin glazes to build up depth and luminosity.

  5. step 05

    Develop the drapery, focusing on the folds and highlights to create a sense of volume.

  6. step 06

    Add details to the faces, such as the eyes, nose, and mouth, to capture the likeness of each figure.

  7. step 07

    Refine the background and foreground, adding details to the columns and landscape.

  8. step 08

    Apply final glazes and highlights to unify the painting and enhance the overall effect.

color palette

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

secondary · ultramarine blue · yellow ochre · cadmium red light

Achieve skin tones by mixing white, red, yellow ochre, and a touch of umber. Use thin glazes of umber and black to create shadows in the drapery.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·portraiture
  • ·drapery study

common pitfalls

  • →Overworking the skin tones, resulting in a flat or lifeless appearance.
  • →Failing to capture the likeness of the figures.
  • →Ignoring the subtle variations in value and color.
  • →Creating muddy colors by overmixing.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·retouch varnish

Use high-quality oil paints for best results. Consider using a toned canvas to simplify the initial stages of painting.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

Girl with a Straw Hat

Girl with a Straw Hat

Judith Leyster

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Abraham Storck

Bathsheba Bathing

Bathsheba Bathing

Francesco Solimena

Repentant Peter

Repentant Peter

Guido Reni

Itinerant Musicians

Itinerant Musicians

Jacob Ochtervelt

Marie Christine

Marie Christine

Marcello Bacciarelli

Santa Cecilia E Due Angeli

Santa Cecilia E Due Angeli

Giulio Cesare Procaccini

Scene from the Life of Saint Benedict

Scene from the Life of Saint Benedict

Philippe de Champaigne