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home·artworks·Portrait of John Viscount Garlies, Later 7th Earl of Galloway, as Master of Garlies
Portrait of John Viscount Garlies, Later 7th Earl of Galloway, as Master of Garlies by Anton Raphael Mengs

plate no. 8363

Portrait of John Viscount Garlies, Later 7th Earl of Galloway, as Master of Garlies

Anton Raphael Mengs, 1758

oilBaroqueportraitportraitfigureclothingmalehandlace
experienced study

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones, as well as understanding light and shadow to create form, especially in drapery.

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

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

  2. step 02

    Establish the background with a dark, muted tone.

  3. step 03

    Block in the main shapes of the figure, paying attention to the overall value structure.

  4. step 04

    Begin refining the skin tones, using thin layers of paint and subtle color variations.

  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 face, including the eyes, nose, and mouth.

  7. step 07

    Paint the lace collar and cuffs, using small brushes and precise strokes.

  8. step 08

    Add final highlights and shadows to enhance the overall realism.

color palette

primary · burnt umber · raw sienna · titanium white · cadmium red

secondary · ivory black · yellow ochre · ultramarine blue

Achieve skin tones by mixing white, red, and a touch of umber or sienna. Create the golden fabric by layering sienna, umber, and yellow ochre, with highlights of white.

techniques

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

common pitfalls

  • →Getting the proportions wrong in the initial sketch.
  • →Overworking the skin tones and creating a muddy effect.
  • →Failing to capture the subtle variations in light and shadow.
  • →Ignoring the importance of edges and creating a flat, lifeless image.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints (burnt umber, raw sienna, titanium white, cadmium red, ivory black, yellow ochre, ultramarine blue)
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round, flat, filbert)
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

Use high-quality oil paints for best results. Consider using a toned canvas to create a warmer base.

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related guides

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