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home·artworks·Portrait of Monsieur de la Breteche, brother of the Abbot of Saint Non
Portrait of Monsieur de la Breteche, brother of the Abbot of Saint Non by Jean-Honore Fragonard

plate no. 7016

Portrait of Monsieur de la Breteche, brother of the Abbot of Saint Non

Jean-Honore Fragonard, 1769

oil, canvasRococoportraitportraitfigureclothingmusical scoreruffheadwear
experienced study

Recreating this painting will help students develop skills in portraiture, particularly in capturing likeness and rendering fabric folds with light and shadow. It also provides practice in glazing and scumbling techniques to achieve depth and texture.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Establish the background with a dark, warm tone.

  3. step 03

    Block in the main colors of the skin, clothing, and other elements, focusing on accurate value relationships.

  4. step 04

    Begin layering and blending colors to create smooth transitions and define forms.

  5. step 05

    Add highlights and shadows to create depth and dimension, paying attention to the direction of light.

  6. step 06

    Refine the details of the face, including the eyes, nose, and mouth.

  7. step 07

    Add details to the clothing, such as the ruff and folds.

  8. step 08

    Apply final glazes to unify the painting and enhance the colors.

color palette

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

secondary · cadmium red · raw sienna

Achieve skin tones by mixing yellow ochre, burnt umber, and white, with small amounts of red for warmth. Use glazes of burnt umber and ivory black to create shadows and depth.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·portraiture
  • ·fabric rendering

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish accurate value relationships.
  • →Using colors that are too saturated or unnatural.
  • →Losing the overall sense of light and atmosphere.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints (yellow ochre, burnt umber, ivory black, titanium white, cadmium red, raw sienna)
  • ·linseed oil
  • ·turpentine or odorless mineral spirits
  • ·palette
  • ·assorted brushes (round and flat)
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·easel

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

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