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home·artworks·Portrait of Princess Caroline Matilda of Great Britain, Later Queen of Denmark and Norway
Portrait of Princess Caroline Matilda of Great Britain, Later Queen of Denmark and Norway by Jean-Étienne Liotard

plate no. 7269

Portrait of Princess Caroline Matilda of Great Britain, Later Queen of Denmark and Norway

Jean-Étienne Liotard, 1754

pastelRococoportraitportraitfigureclothingchildfacehair
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering skin tones, as well as understanding subtle color variations and blending techniques.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the figure, focusing on the head, shoulders, and clothing.

  2. step 02

    Block in the background with a mid-tone color, establishing the overall value.

  3. step 03

    Begin layering skin tones, starting with lighter areas and gradually building up shadows and highlights.

  4. step 04

    Define the features of the face, paying close attention to the eyes, nose, and mouth.

  5. step 05

    Paint the clothing, capturing the folds and details of the fabric.

  6. step 06

    Add the white lace trim, using fine brushstrokes to create texture.

  7. step 07

    Refine the hair, using light and dark tones to create volume and dimension.

  8. step 08

    Add final details and highlights to complete the painting.

color palette

primary · titanium white · yellow ochre · cerulean blue · rose madder

secondary · raw umber · viridian green · cadmium yellow

Achieve skin tones by mixing white, yellow ochre, and a touch of rose madder. Create the dress color by mixing cerulean blue and viridian green, adjusting the ratio for different shades.

techniques

  • ·blending
  • ·layering
  • ·scumbling
  • ·color mixing
  • ·portraiture

common pitfalls

  • →Overworking the skin tones, resulting in a muddy or unnatural appearance.
  • →Failing to capture the likeness of the subject.
  • →Ignoring the subtle color variations in the clothing and background.
  • →Using too much detail in the background, distracting from the main subject.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·acrylic or oil paints
  • ·round brushes (various sizes)
  • ·flat brushes (various sizes)
  • ·palette
  • ·palette knife
  • ·linseed oil (if using oil paints)
  • ·odorless mineral spirits (if using oil paints)

optional

  • ·medium gloss
  • ·retarder medium
  • ·easel

Use high-quality paints for best results. Consider using a toned canvas to simplify the initial blocking-in process.

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