plate no. 1106

Presumed portrait of the architect Tilman-François Suys in the roman countryside

oilNeoclassicismportraitportraitfigurelandscapeclothingskymountains

some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions and capturing likeness, as well as understanding how to create depth and atmosphere in a landscape background.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 20 hrs

approach — 8 steps

step 01
Sketch the basic composition, focusing on the proportions of the figure and the placement of the landscape elements.
step 02
Establish the main value structure by blocking in the dark and light areas of the background and the figure's clothing.
step 03
Begin refining the facial features, paying close attention to the shapes and values of the eyes, nose, and mouth.
step 04
Develop the details of the clothing, using subtle color variations to create form and texture.
step 05
Add details to the landscape background, focusing on creating a sense of depth and atmosphere.
step 06
Refine the highlights and shadows throughout the painting to enhance the sense of realism.
step 07
Pay attention to the edges, softening some and sharpening others to create visual interest.
step 08
Add final details and glazes to unify the painting and enhance the colors.

color palette

primary · burnt umber · ivory black · titanium white · yellow ochre

secondary · cadmium red light · ultramarine blue

Mix various shades of brown and gray by combining burnt umber, ivory black, and titanium white. Use yellow ochre and cadmium red light to create skin tones, and ultramarine blue to create atmospheric effects in the sky.

techniques

·portraiture
·chiaroscuro
·glazing
·blending
·atmospheric perspective

common pitfalls

→Inaccurate proportions in the figure.
→Overworking the details and losing the overall sense of form.
→Failing to create a convincing sense of depth in the landscape.
→Using colors that are too saturated and not harmonious with the overall palette.

materials

surface · stretched canvas

required

·stretched canvas (16x20 inches)
·oil paints (burnt umber, ivory black, titanium white, yellow ochre, cadmium red light, ultramarine blue)
·linseed oil
·turpentine
·palette
·assorted brushes (round and flat)
·palette knife
·rags