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home·artworks·Portrait of Maria José, princess of Piedmont
Portrait of Maria José, princess of Piedmont by Vittorio Matteo Corcos

plate no. 8462

Portrait of Maria José, princess of Piedmont

Vittorio Matteo Corcos, 1931

oil, canvasRealismportraitportraitfiguredressmarblecolumnfabric
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions and subtle skin tone variations, as well as rendering fabric and marble textures with soft blending techniques.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic oval composition and the figure's pose, paying attention to proportions.

  2. step 02

    Block in the main areas of color: skin, dress, background, and fabric.

  3. step 03

    Start refining the skin tones, using subtle layers and blending to create a smooth transition.

  4. step 04

    Develop the details of the dress, capturing the folds and subtle variations in color.

  5. step 05

    Work on the background, rendering the marble texture with light and shadow.

  6. step 06

    Add the details of the crown and jewelry, paying attention to the highlights and reflections.

  7. step 07

    Refine the overall composition, adjusting values and colors as needed.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

primary · titanium white · cerulean blue · raw umber

secondary · cadmium red light · yellow ochre · ivory black

Achieve skin tones by mixing titanium white, cadmium red light, and yellow ochre. The blue dress is created with cerulean blue and white, with touches of raw umber for shadows. The marble is a mix of white, raw umber, and a touch of black.

techniques

  • ·glazing
  • ·soft blending
  • ·color layering
  • ·rendering textures

common pitfalls

  • →Incorrect proportions in the figure.
  • →Overly harsh blending, resulting in a flat appearance.
  • →Difficulty capturing the subtle variations in skin tone.
  • →Losing the sense of light and shadow in the fabric and marble.

materials

surface · stretched canvas (oval shape)

required

  • ·stretched canvas (oval shape)
  • ·titanium white oil paint
  • ·cerulean blue oil paint
  • ·raw umber oil paint
  • ·cadmium red light oil paint
  • ·yellow ochre oil paint
  • ·ivory black oil paint
  • ·assorted soft bristle brushes

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

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

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