plate no. 0214
Portrait of Leo Tolstoy
Nikolai Ge, 1884
some experience helpful
Recreating this painting will help students develop skills in portraiture, particularly in capturing likeness and rendering realistic textures like hair and skin. It also provides practice in creating depth and atmosphere through subtle value changes.
technical profile
palette complexity
3
brushwork visibility
4
value contrast
4
compositional simplicity
3
study guide
est. 15 hrsapproach — 8 steps
- step 01
Sketch the basic composition, focusing on the proportions of the figure and the placement of the desk.
- step 02
Establish the dark background using a thin wash of dark brown or black.
- step 03
Block in the main shapes of the figure, paying attention to the light and shadow patterns.
- step 04
Begin building up the skin tones, using a limited palette of earth tones and white.
- step 05
Add details to the beard and hair, using small, broken brushstrokes to create texture.
- step 06
Refine the details of the desk and papers, paying attention to the perspective and the way the light falls on them.
- step 07
Add highlights and shadows to create depth and dimension.
- step 08
Glaze with thin layers of color to unify the painting and add richness.
color palette
primary · burnt umber · raw sienna · titanium white
secondary · ivory black · yellow ochre · cadmium red (small amount)
Skin tones are achieved by mixing burnt umber, raw sienna, and white, with small amounts of red and yellow ochre for warmth. Dark areas are created by mixing burnt umber and black.
techniques
- ·portraiture
- ·value studies
- ·dry brushing
- ·glazing
- ·chiaroscuro
common pitfalls
- →Getting the proportions wrong in the initial sketch.
- →Overworking the details before establishing the overall value structure.
- →Using too much color and losing the subtle tonal variations.
- →Failing to create a sense of depth and atmosphere.
materials
surface · stretched canvas
required
- ·stretched canvas (16x20 inches)
- ·oil paints (burnt umber, raw sienna, titanium white, ivory black, yellow ochre, cadmium red)
- ·linseed oil
- ·turpentine or odorless mineral spirits
- ·assorted brushes (round and flat)
- ·palette
optional
- ·palette knife
- ·medium (e.g., Liquin)
- ·varnish
Use a medium-tooth canvas for best results. Consider using a limited palette to simplify the color mixing process.
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