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home·artworks·Portrait of the Artist's Brother, Jean
Portrait of the Artist's Brother, Jean by Émilie Charmy

plate no. 2135

Portrait of the Artist's Brother, Jean

Émilie Charmy, 1904

oilExpressionismportraitportraitfiguremanhatbookclothing
some experience helpful

Recreating this painting will help students develop skills in portraiture, color mixing for skin tones, and capturing a likeness with loose, expressive brushstrokes. It also provides practice in simplifying forms and focusing on essential details.

technical profile

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

study guide

est. 8 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes of the figure, hat, and book, paying attention to proportions.

  2. step 02

    Block in the background with a thin layer of green, allowing some canvas to show through.

  3. step 03

    Establish the main skin tones using a mix of warm and cool colors, focusing on the light and shadow areas.

  4. step 04

    Paint the clothing with broad strokes, using darker shades of brown and green.

  5. step 05

    Add details to the face, such as the eyes, nose, and mouth, using small, precise brushstrokes.

  6. step 06

    Paint the book with white and brown, suggesting the pages and spine.

  7. step 07

    Refine the details of the hat, adding highlights and shadows.

  8. step 08

    Add final touches and highlights to the entire painting, adjusting values and colors as needed.

color palette

primary · yellow ochre · burnt umber · titanium white · sap green

secondary · cadmium red · ultramarine blue

Achieve skin tones by mixing yellow ochre, burnt umber, and titanium white, with small amounts of cadmium red for warmth. Mix greens by combining sap green with yellow ochre or ultramarine blue.

techniques

  • ·alla prima
  • ·broken color
  • ·dry brushing
  • ·color mixing
  • ·portraiture

common pitfalls

  • →Overworking the details and losing the loose, expressive quality.
  • →Getting the proportions wrong in the initial sketch.
  • →Using colors that are too saturated or unnatural.
  • →Failing to capture the likeness of the subject.

materials

surface · stretched canvas

required

  • ·stretched canvas (12x16 inches)
  • ·oil paints (yellow ochre, burnt umber, titanium white, sap green, cadmium red, ultramarine blue)
  • ·palette
  • ·assorted brushes (round and flat)
  • ·linseed oil
  • ·turpentine or mineral spirits
  • ·palette knife

optional

  • ·painting medium
  • ·easel
  • ·rags

Use a medium-grain canvas for best results. Consider using a limited palette to simplify color mixing.

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