plate no. 2995

Portrait of Miss Ruth Breslin

George Luks, 1925

oil, canvasNew Realismportraitportraitfigurechildflowerstabledark background

some experience helpful

Recreating this painting will help students develop skills in portraiture, particularly capturing likeness and skin tones, as well as understanding how to create depth and form with a limited palette and visible brushstrokes.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 15 hrs

approach — 8 steps

step 01
Sketch the basic shapes and proportions of the figure, paying attention to the placement of the head, shoulders, and arms.
step 02
Block in the large areas of color, starting with the background and the darkest areas of the dress.
step 03
Establish the basic skin tones using a mix of warm yellows, reds, and browns, and begin to define the facial features.
step 04
Develop the details of the clothing, including the patterns on the sleeves and collar, using short, visible brushstrokes.
step 05
Add highlights to the face, hair, and clothing to create a sense of form and dimension.
step 06
Refine the details of the face, paying attention to the eyes, nose, and mouth.
step 07
Paint the small vase of flowers, using a limited palette of reds, oranges, and greens.
step 08
Add final touches and adjustments to the painting, ensuring that the overall composition is balanced and harmonious.

color palette

primary · ivory black · yellow ochre · burnt umber · cadmium red light

secondary · sap green · titanium white

Mix ivory black with yellow ochre and burnt umber to create the dark background. Achieve skin tones by blending yellow ochre, cadmium red light, and titanium white. Use sap green to neutralize the reds and browns.

techniques

·portraiture
·blocking in
·scumbling
·visible brushstrokes
·limited palette

common pitfalls

→Over-blending the skin tones, resulting in a flat and lifeless appearance.
→Getting the proportions of the face wrong, leading to an inaccurate likeness.
→Ignoring the subtle variations in color and value, resulting in a monotonous painting.
→Using too much detail too early in the process, which can make it difficult to make adjustments later on.

materials

surface · stretched canvas

required

·stretched canvas 16x20
·oil paints (ivory black, yellow ochre, burnt umber, cadmium red light, titanium white, sap green)
·palette
·palette knife
·assorted brushes (round and flat)
·linseed oil
·odorless mineral spirits
·rags