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Self-portrait at the easel by Friedrich Johann Gottlieb Lieder

plate no. 6203

Self-portrait at the easel

Friedrich Johann Gottlieb Lieder, 1845

oilRomanticismportraitportraitfigureartisteaselpalettebrushes
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering realistic skin tones. It also provides practice in creating depth and form through subtle value changes.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Begin with a light sketch outlining the basic shapes and proportions of the figure, easel, and palette.

  2. step 02

    Establish the background with a mid-tone gray-brown, blending smoothly.

  3. step 03

    Block in the main areas of color for the face, clothing, and palette, focusing on accurate value relationships.

  4. step 04

    Refine the facial features, paying close attention to the eyes, nose, and mouth, and subtle shifts in skin tone.

  5. step 05

    Develop the details of the clothing, including the folds and highlights, and the texture of the jacket.

  6. step 06

    Paint the easel and the painting on it, focusing on the gold frame.

  7. step 07

    Add the details of the brushes and the paint on the palette.

  8. step 08

    Make final adjustments to values and details to create a cohesive and realistic portrait.

color palette

primary · ivory black · burnt umber · raw sienna · titanium white

secondary · cadmium red light · yellow ochre · ultramarine blue

Skin tones are achieved by mixing white, raw sienna, and small amounts of red and umber. Darker areas use more umber and black, while highlights use more white and yellow ochre. The background is a mix of black, umber, and white.

techniques

  • ·portraiture
  • ·blending
  • ·value study
  • ·glazing
  • ·scumbling

common pitfalls

  • →Incorrect proportions in the initial sketch.
  • →Overblending, resulting in a flat appearance.
  • →Neglecting subtle value changes in the face.
  • →Getting the skin tones wrong.
  • →Not capturing the likeness of the subject.

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·#2 round brush
  • ·#4 filbert brush
  • ·#6 flat brush
  • ·ivory black oil paint
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint

optional

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

Use high-quality oil paints for best results. A smooth canvas surface is recommended for easier blending.

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oil painting for beginners →how to learn by studying the masters →
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