plate no. 4663
Portrait of the painter Isaak Izrailevich Brodsky
Ilya Repin, 1913
some experience helpful
Recreating this painting will help students develop skills in portraiture, particularly capturing likeness and rendering form with visible brushstrokes. It also provides practice in mixing subtle color variations to create realistic skin tones and textures.
technical profile
palette complexity
3
brushwork visibility
4
value contrast
3
compositional simplicity
4
study guide
est. 12 hrsapproach — 8 steps
- step 01
Lightly sketch the basic shapes and proportions of the figure, focusing on the head, shoulders, and hat.
- step 02
Establish the overall value structure with a thin wash of burnt umber or a similar earth tone.
- step 03
Begin blocking in the main areas of color, starting with the skin tones and the background.
- step 04
Develop the details of the face, paying close attention to the light and shadow on the features.
- step 05
Work on the clothing, using thicker paint and more visible brushstrokes to create texture.
- step 06
Add the details of the hat and the rose, focusing on capturing their unique forms and colors.
- step 07
Refine the overall composition, adjusting values and colors as needed to create a cohesive image.
- step 08
Add final highlights and details to bring the painting to life.
color palette
primary · titanium white · raw umber · burnt sienna · ivory black
secondary · cadmium red light · yellow ochre · ultramarine blue
Mix skin tones using white, raw umber, burnt sienna, and small amounts of red and yellow. Achieve the suit color by mixing black, white, and a touch of blue. Use red and white for the rose.
techniques
- ·alla prima
- ·broken color
- ·scumbling
- ·portraiture
- ·value studies
common pitfalls
- →Getting the proportions wrong in the initial sketch.
- →Overworking the painting and losing the freshness of the brushstrokes.
- →Failing to capture the likeness of the subject.
- →Creating muddy colors by overmixing.
materials
surface · stretched canvas
required
- ·stretched canvas 16x20
- ·oil paints (titanium white, raw umber, burnt sienna, ivory black, cadmium red light, yellow ochre, ultramarine blue)
- ·palette
- ·palette knife
- ·linseed oil
- ·turpentine
- ·assorted brushes (round and flat)
- ·rags
optional
- ·medium gloss
- ·easel
- ·mahl stick
Use a medium-tooth canvas to allow for good paint adhesion and texture. Consider using a limited palette to simplify the color mixing process.
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