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home·artworks·Portrait of George Savile, 1st Marquess of Halifax (1633-1695)
Portrait of George Savile, 1st Marquess of Halifax (1633-1695) by Mary Beale

plate no. 8487

Portrait of George Savile, 1st Marquess of Halifax (1633-1695)

Mary Beale, 1676

oil, canvasBaroqueportraitportraitfigurelandscapeclothinglacehair
experienced study

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones, as well as understanding how to depict fabric folds and textures with light and shadow.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Create a light sketch outlining the figure's pose and proportions.

  2. step 02

    Block in the background with broad strokes, focusing on the overall values.

  3. step 03

    Establish the main shapes and values of the face, paying attention to the light source.

  4. step 04

    Begin layering colors to build up the skin tones, blending carefully.

  5. step 05

    Paint the clothing, focusing on capturing the highlights and shadows to create a sense of volume.

  6. step 06

    Add details to the hair, using thin brushes to create individual strands.

  7. step 07

    Render the lace collar and cuffs, paying attention to the intricate patterns.

  8. step 08

    Refine the details and adjust the values to create a cohesive and realistic portrait.

color palette

primary · raw umber · titanium white · yellow ochre · ivory black

secondary · ultramarine blue · burnt sienna · cadmium yellow

Mix various shades of brown and beige for the skin tones and clothing by combining raw umber, yellow ochre, and titanium white. Use small amounts of ultramarine blue and burnt sienna to adjust the temperature of the browns.

techniques

  • ·portraiture
  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·blending

common pitfalls

  • →Getting the proportions of the face wrong.
  • →Overworking the details too early in the process.
  • →Creating muddy or dull skin tones.
  • →Failing to capture the subtle variations in light and shadow.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·ivory black oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·odorless mineral spirits
  • ·mahogany palette

Use high-quality oil paints for best results. Consider using a toned canvas to help establish the overall values.

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related guides

oil painting for beginners →chiaroscuro →how to learn by studying the masters →
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