apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Portrait of Sarah Macholm in Prison
Portrait of Sarah Macholm in Prison by William Hogarth

plate no. 6657

Portrait of Sarah Macholm in Prison

William Hogarth, 1733

oil, canvasBaroqueportraitfigureprisontablewindowdressrosary
some experience helpful

Recreating this painting will help students develop skills in creating a limited palette and using value to create form. It also provides practice in capturing the texture of fabric and stone with visible brushstrokes.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure, table, and window.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber.

  3. step 03

    Block in the main shapes of the figure, table, and background with their respective local colors.

  4. step 04

    Refine the values and edges of the figure, paying attention to the light and shadow.

  5. step 05

    Add details to the face, hands, and clothing, using small brushstrokes.

  6. step 06

    Develop the texture of the stone walls and the wooden table with visible brushstrokes.

  7. step 07

    Paint the window bars and the light coming through the window.

  8. step 08

    Add the rosary on the table as a final detail.

color palette

primary · burnt umber · titanium white · ivory black

secondary · yellow ochre · raw sienna

Use burnt umber and white to create a range of neutral tones for the walls and table. Mix black and white for the dress, and add touches of yellow ochre to warm the highlights.

techniques

  • ·chiaroscuro
  • ·scumbling
  • ·dry brushing
  • ·glazing
  • ·limited palette

common pitfalls

  • →Getting the proportions of the figure wrong.
  • →Making the values too uniform, resulting in a flat image.
  • →Overworking the details, losing the loose, painterly quality.
  • →Not capturing the texture of the materials.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·yellow ochre oil paint
  • ·round brushes
  • ·flat brushes
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·raw sienna oil paint

Use a medium-textured canvas to help create the desired texture. Consider using a toned canvas to speed up the painting process.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →chiaroscuro →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Girl with a Straw Hat

Girl with a Straw Hat

Judith Leyster

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Abraham Storck

Bathsheba Bathing

Bathsheba Bathing

Francesco Solimena

Repentant Peter

Repentant Peter

Guido Reni

Itinerant Musicians

Itinerant Musicians

Jacob Ochtervelt

Marie Christine

Marie Christine

Marcello Bacciarelli

Santa Cecilia E Due Angeli

Santa Cecilia E Due Angeli

Giulio Cesare Procaccini

Scene from the Life of Saint Benedict

Scene from the Life of Saint Benedict

Philippe de Champaigne