
plate no. 4477
Agnolo Bronzino, 1540
Recreating this painting will help students develop skills in portraiture, including accurate proportions and rendering of skin tones, as well as understanding how to create depth and form using subtle value changes.
technical profile
approach — 8 steps
Create a preliminary sketch outlining the basic shapes and proportions of the figure and background.
Establish the overall value structure by blocking in the dark areas of the clothing and background.
Begin rendering the skin tones, starting with the mid-tones and gradually adding highlights and shadows.
Pay close attention to the details of the face, including the eyes, nose, and mouth.
Work on the beard, using short, broken brushstrokes to create texture and dimension.
Refine the details of the clothing, including the folds and wrinkles.
Add the architectural details of the background, paying attention to perspective and proportion.
Make final adjustments to the overall composition and value structure.
color palette
primary · ivory black · raw umber · burnt sienna · titanium white
secondary · cadmium red light · yellow ochre
Achieve skin tones by mixing titanium white, yellow ochre, and a touch of cadmium red light. Darken values with raw umber and ivory black. Create the beard color by mixing burnt sienna with small amounts of raw umber and cadmium red light.
techniques
common pitfalls
surface · stretched canvas
required
optional
Use high-quality oil paints for best results. A medium-sized canvas (16x20 inches) is recommended for beginners.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
in this vein

Apollo and the Muses (Parnassus)
Lavinia Fontana

Portrait Of Don Rodrigo Vasquez
El Greco

Madonna Bolognini
Correggio

The Unhappy Lot of the Rich
Maerten van Heemskerck

Head of a Woman
Orazio Gentileschi

The Deposition
Giorgio Vasari

Portrait of a Man Holding a Letter
Francesco de' Rossi (Francesco Salviati), "Cecchino"

Portrait of the Physician Carlo Fontana
Bartolomeo Passerotti