plate no. 0778

Self-Portrait

George Stefanescu, 1963

oil, canvasExpressionismself-portraitportraitmanglassesred shirtfacehead

some experience helpful

Recreating this painting will help students develop skills in impasto techniques and color mixing to achieve realistic skin tones. Students will also learn to simplify complex forms into basic shapes and use expressive brushstrokes to convey texture and emotion.

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 of the head, shoulders, and glasses onto the canvas.
step 02
Block in the background with a mix of greens and browns, using loose brushstrokes.
step 03
Establish the main areas of light and shadow on the face with thin washes of color.
step 04
Begin building up the skin tones with thicker paint, layering different shades of ochre, red, and white.
step 05
Apply impasto to the face and shirt, using a palette knife or thick brushstrokes to create texture.
step 06
Paint the glasses with black and gray, adding highlights to create a sense of depth.
step 07
Refine the details of the face, paying attention to the eyes, nose, and mouth.
step 08
Add final highlights and shadows to the painting to enhance the overall contrast and realism.

color palette

primary · burnt sienna · titanium white · cadmium red · yellow ochre

secondary · viridian green · raw umber · ultramarine blue

Mix different proportions of burnt sienna, yellow ochre, and titanium white to create a range of skin tones. Use small amounts of red and blue to adjust the warmth and coolness of the colors. Mix viridian green and raw umber for the background.

techniques

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

common pitfalls

→Overblending the colors, resulting in a muddy appearance.
→Not paying attention to the underlying structure of the face.
→Using too much paint, which can make the painting look heavy and overworked.
→Ignoring the importance of light and shadow in creating form.

materials

surface · stretched canvas

required

·stretched canvas (16x20 inches)
·oil paints (burnt sienna, titanium white, cadmium red, yellow ochre, viridian green, raw umber, ultramarine blue)
·palette
·palette knife
·assorted brushes (round, flat, filbert)
·linseed oil
·turpentine or mineral spirits
·rags