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home·artworks·Profile Portrait of a Young Lady
Profile Portrait of a Young Lady by Antonio del Pollaiolo

plate no. 0331

Profile Portrait of a Young Lady

Antonio del Pollaiolo, 1465

oil, panel, woodEarly Renaissanceportraitportraitfiguredressprofilerenaissanceheadpiece
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportion and subtle skin tone blending. It also provides practice in rendering intricate patterns and textures.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the head, neck, and shoulders.

  2. step 02

    Establish the background color with thin washes of blue, creating subtle variations.

  3. step 03

    Block in the skin tones with a base layer of light peach, paying attention to the light source.

  4. step 04

    Begin layering and blending skin tones, adding highlights and shadows to define the form.

  5. step 05

    Paint the headpiece with careful attention to its folds and textures.

  6. step 06

    Sketch the outline of the dress and its major design elements.

  7. step 07

    Paint the base colors of the dress, then add details like the floral patterns and gold trim.

  8. step 08

    Refine the details and add final highlights and shadows to create depth and realism.

color palette

primary · titanium white · yellow ochre · ultramarine blue · cadmium red

secondary · burnt umber · viridian green · gold

Achieve skin tones by mixing white, yellow ochre, and a touch of red. Use ultramarine blue with white and a touch of burnt umber for the background. Mix cadmium red with a touch of burnt umber to create the darker reds in the dress.

techniques

  • ·portraiture
  • ·glazing
  • ·blending
  • ·rendering fabric
  • ·fine detail brushwork

common pitfalls

  • →Getting the proportions of the face and neck wrong.
  • →Overblending the skin tones, resulting in a flat appearance.
  • →Simplifying the dress patterns too much.
  • →Not paying enough attention to the subtle variations in color and value.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·ultramarine blue oil paint
  • ·cadmium red oil paint
  • ·burnt umber oil paint
  • ·round brushes (sizes 0, 2, 4)
  • ·flat brush (size 6)

optional

  • ·palette knife
  • ·linseed oil
  • ·medium gloss

Use high-quality oil paints for best results. A smooth canvas surface will help with blending.

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