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home·artworks·Portrait of Richard Aldworth Neville, Later Second Baron Braybrooke
Portrait of Richard Aldworth Neville, Later Second Baron Braybrooke by Pompeo Batoni

plate no. 8439

Portrait of Richard Aldworth Neville, Later Second Baron Braybrooke

Pompeo Batoni, 1773

oil, canvasNeoclassicismportraitportraitfigureclothingmanhathistorical
experienced study

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones, as well as understanding how to depict fabric and textures with paint.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

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

  2. step 02

    Block in the main shapes and colors of the background and clothing.

  3. step 03

    Begin layering the skin tones, focusing on highlights and shadows.

  4. step 04

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

  5. step 05

    Refine the clothing, paying attention to folds, textures, and patterns.

  6. step 06

    Add details to the hair and hat.

  7. step 07

    Adjust the overall values and colors to create a sense of depth and realism.

  8. step 08

    Add final details and highlights.

color palette

primary · cadmium red · yellow ochre · ivory black · titanium white

secondary · burnt umber · raw sienna · ultramarine blue

Skin tones can be achieved by mixing white, yellow ochre, and a touch of red. The red coat is a mix of cadmium red and a touch of burnt umber. The yellow vest is yellow ochre lightened with white and a touch of red.

techniques

  • ·portraiture
  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·color blending

common pitfalls

  • →Getting the proportions of the face wrong.
  • →Overworking the skin tones, resulting in a muddy appearance.
  • →Failing to capture the subtle variations in color and value.
  • →Not paying enough attention to the details of the clothing.

materials

surface · stretched canvas

required

  • ·stretched canvas (16x20 inches)
  • ·oil paints (cadmium red, yellow ochre, ivory black, titanium white, burnt umber, raw sienna, ultramarine blue)
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·medium gloss
  • ·retouch varnish
  • ·mahl stick

Use high-quality oil paints for best results. A medium-grit canvas will provide a good surface for layering paint.

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