apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Richard Wilson
Richard Wilson by Anton Raphael Mengs

plate no. 4536

Richard Wilson

Anton Raphael Mengs, 1752

oilNeoclassicismportraitportraitfigureartistclothingpalettechair
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions, skin tone mixing, and rendering fabric textures. It also provides practice in creating a sense of depth through subtle value changes.

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 figure, chair, and background.

  2. step 02

    Establish the overall value structure by blocking in the main areas of light and shadow with thin washes of color.

  3. step 03

    Begin refining the skin tones, paying close attention to subtle color variations and highlights.

  4. step 04

    Develop the details of the clothing, focusing on the folds and patterns of the fabric.

  5. step 05

    Paint the background, creating a soft and atmospheric effect.

  6. step 06

    Add details to the chair and the artist's palette.

  7. step 07

    Refine the facial features, capturing the likeness of the subject.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · burnt umber · titanium white · yellow ochre

secondary · cadmium red · ultramarine blue · ivory black

Achieve skin tones by mixing white, yellow ochre, and a touch of red. Use burnt umber and black to create shadows and depth in the clothing and background. Mix small amounts of blue and red to create purples for the turban.

techniques

  • ·portraiture
  • ·glazing
  • ·scumbling
  • ·blending
  • ·chiaroscuro

common pitfalls

  • →Getting the proportions wrong in the initial sketch.
  • →Overworking the skin tones and losing the subtle color variations.
  • →Failing to create a sense of depth in the background.
  • →Ignoring the importance of highlights in creating form.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·cadmium red oil paint
  • ·ultramarine blue oil paint
  • ·ivory black oil paint
  • ·assorted brushes (round and flat)

optional

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

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

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

Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Portrait of Sculptor Jean-Antoine Houdon working at the bust of Voltaire

Marie-Gabrielle Capet

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

The Roman antiquities, t. 1, Plate XXXI. Temple of Antonius and Faustina.

Giovanni Battista Piranesi

Portrait of Louis d'Orleans

Portrait of Louis d'Orleans

Franz Xaver Winterhalter

Rooftops in the shadows

Rooftops in the shadows

Pierre-Henri de Valenciennes

The Schmadribach Falls

The Schmadribach Falls

Joseph Anton Koch

A Scene from 'As You Like It' by William Shakespeare

A Scene from 'As You Like It' by William Shakespeare

William Hamilton

Portrait of Klementyna Ostrowska Née Sanguszko

Portrait of Klementyna Ostrowska Née Sanguszko

Vincenzo Camuccini

Self-Portrait

Self-Portrait

Anton Raphael Mengs