apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Portrait of the Painter Anton Peschka
Portrait of the Painter Anton Peschka by Egon Schiele

plate no. 8984

Portrait of the Painter Anton Peschka

Egon Schiele, 1909

oil, canvasArt Nouveau (Modern)portraitportraitfiguremanchairbackgroundpattern
some experience helpful

This painting provides practice in portraiture, color mixing for skin tones and fabric, and creating subtle patterned backgrounds. Students will learn to simplify forms and capture a likeness using a limited palette.

technical profile

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

study guide

est. 12 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the figure, chair, and background.

  2. step 02

    Block in the main color areas: the pink of the jacket, the gray of the chair and background, and the dark hair.

  3. step 03

    Begin refining the skin tones, mixing subtle variations of pink, brown, and gray.

  4. step 04

    Add details to the jacket, such as the folds and shadows.

  5. step 05

    Develop the pattern on the chair and background, paying attention to the shapes and colors.

  6. step 06

    Refine the facial features, focusing on the eyes, nose, and mouth.

  7. step 07

    Add the small details like the hand holding the brush and the floral pattern on the chair.

  8. step 08

    Make final adjustments to the colors, values, and details to achieve a cohesive and balanced composition.

color palette

primary · rose madder · raw umber · titanium white

secondary · cadmium red light · yellow ochre

Mix the pink for the jacket by combining rose madder and white. Use raw umber and white for the gray tones in the background and chair. Add small amounts of yellow ochre or cadmium red to warm up the grays.

techniques

  • ·color mixing
  • ·blocking in
  • ·scumbling
  • ·glazing
  • ·simplifying forms

common pitfalls

  • →Overworking the details
  • →Getting the proportions wrong
  • →Using colors that are too bright or saturated
  • →Ignoring the subtle variations in tone

materials

surface · stretched canvas

required

  • ·Stretched canvas 16x20
  • ·Oil paints: rose madder, raw umber, titanium white, cadmium red light, yellow ochre
  • ·Palette
  • ·Assorted brushes (round and flat)
  • ·Linseed oil
  • ·Odorless mineral spirits
  • ·Palette knife
  • ·Rags

optional

  • ·Retouch varnish
  • ·Medium (e.g. Liquin)

Use good quality oil paints for best results. A medium can be added to the paint to improve flow and drying time.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

Kolo Moser

Kolo Moser

Koloman Moser

L'Atelier de Diebold Lauber

L'Atelier de Diebold Lauber

Léo Schnug

Family Gathering in Saint Idesbald

Family Gathering in Saint Idesbald

Georges Lemmen

The Kiss

The Kiss

Rose O'Neill

His grandmother had Told Him (from The Garden of Paradise)

His grandmother had Told Him (from The Garden of Paradise)

Edmund Dulac

Two girls

Two girls

Felice Casorati

Girl with a rose

Girl with a rose

Paul Mathiopoulos

The King

The King

Alexandre Benois