plate no. 4400

Selbstportrait

Cuno Amiet, 1959

oilDivisionismself-portraitportraitmanfacesuitgardenfigure

some experience helpful

Recreating this painting will help students develop skills in color mixing for skin tones and using broken color techniques to create texture and depth. It also provides practice in capturing likeness and creating a sense of form through color and brushwork.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 10 hrs

approach — 8 steps

step 01
Lightly sketch the basic shapes and proportions of the head, shoulders, and background elements.
step 02
Establish the overall color scheme by blocking in the main areas of color with thin washes.
step 03
Begin building up the skin tones using a variety of colors and short, broken brushstrokes.
step 04
Develop the background by layering different shades of green, blue, and yellow to create a sense of depth and atmosphere.
step 05
Add details to the face, such as the eyes, nose, and mouth, paying close attention to the subtle variations in color and value.
step 06
Refine the clothing and background, adding highlights and shadows to create a sense of form and texture.
step 07
Add small details and accents to enhance the overall composition.
step 08
Step back and assess the painting, making any necessary adjustments to the colors, values, and composition.

color palette

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

secondary · viridian green · raw umber · alizarin crimson

Achieve skin tones by mixing yellow ochre, cadmium red, and titanium white, adjusting the proportions to create different shades and hues. Use ultramarine blue and viridian green to create the cool tones in the background and clothing.

techniques

·broken color
·scumbling
·color layering
·alla prima
·impasto

common pitfalls

→Over-blending the colors, which can result in a muddy or flat appearance.
→Ignoring the subtle variations in color and value, which can make the portrait look lifeless.
→Failing to establish a clear focal point, which can make the composition feel disorganized.
→Getting lost in details too early, before establishing the overall color scheme and composition.

materials

surface · stretched canvas

required

·stretched canvas (16x20 inches)
·oil paints (yellow ochre, ultramarine blue, titanium white, cadmium red, viridian green, raw umber, alizarin crimson)
·palette
·assorted brushes (round and flat)
·palette knife
·linseed oil
·odorless mineral spirits